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Gain entertainment from politics. Source your bitterness in the real world... and laugh at it. Life of Riley is a collection of political satires written by Dave Riley.

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Socialist Alliance: national conference discussion


The written - and online -- pre-conference discussion for the 8th National Conference of the Socialist Alliance's finishes today  two days before the actual conference begins in Sydney.

The conference will be held at the new Activist Centre there which is big enough and flexible enough  to house a large mob.

Discussion has been vigorous in the pages of Alliance Voices   and there have been close to 100  documents,  proposals and amendments contributed.

The key focus has been the draft  resolution -- Towards a Socialist Australia -- which has already gone through a  few re-writes as part of an ongoing collaborative process.
The idea to put together a document which starts to encapsulate the answers to the questions “Why Socialism?” and “What Does the Socialist Alliance Stand For?” in a popular style came about late last year.... This process has been the result of positive collaboration within the Alliance and reflects our current practice with policy development and discussion on our campaigning e-lists.Assuming that the draft is approved at the conference, the next step will be to commence a process of continuing discussion about the document within the Alliance, as well as public consultation with our allies, collaborators and individual supporters, with a view to formally adopting it as a document of the Alliance at our 2013 National Conference. How branches choose to go about this consultation will be up to them, and dependent upon the particular circumstances in each city and state, but branches should start a discussion about this soon after the conference -- Susan Price : Rationale for the Towards a Socialist Australia document
Since I've been under the weather I haven't been actively engaged in party debates to the extent I was two years ago. But ever a meddler I contributed two discussion items on what I called 'Atlargeness' -- Article I and Article II.

The advantage of being at-large as I am is that you get to meditate on the condition.

A theme in some of the exchanges has been  identity which I think is  a political trap. I'm dedicated to judging an outfit on what it does and how it does it -- not on what it thinks it is. On the socialists left there is far too much boutique identity politics. After 40 years of it I've had my fill of shibboleth making and program posturing.

Ironically Towards a Socialist Australia  not only tries to  define what the Socialist Alliance is and strives for  but in its genesis it also suggests what the Alliance does.


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The Socialist Alliance: ten years on

While I've been waylaid by a bout of ill health for the past 2 years and consequently disengaged from the political coal face, I'm still a Socialist Alliance groupie.

I mean that because I'm very supportive of the project since I was dragged into its factional furore in 2003. when the various far left affiliates were determined to prevent the 'alliance' moving forward and developing into  a  'multi tendency socialist party'. 

When I say factional furore I do mean it was heated stuff, the worst of it unbeknown to the bulk of observers on the left  and SA members. Then in dribs and drabs these affiliates who failed to win over the vast majority of the Alliance membership to their position , despite an open and extensive democratic debate,  quietly licked their wounds and withdrew.

So in the period between its formation in 2001 and the split in the Democratic Socialist Perspective in 2008,  the SA has been cause for much discord on the far left. 

Not bad for a purported  'unity' project.

But then when you consider the history of similar unity projects elsewhere with the same international partners -- such as in England and Scotland -- a similar  factional and divisive  story emerges in the experience of Respect, the English Socialist Alliance and the Scottish Socialist Party.

The Socialist Alliance success is that it has survived all this and still remains a viable enterprise. 
I'll get back to that point later : how viable is the SA?
The SA can still argue for a left unity  when  the various  tendencies on the far left have proven and stated often enough that are not the least bit interested in organisational unity for the foreseeable future. Consequently, these same elements have dismissed the Alliance as a failed exercise. 

So how viable is the Alliance as a unity project when the far left orgs won't have a bar of it?

What these naysayers don't  recognise is that the SA continues to unite socialists around a program of shared political activity. It continues its quest for left regroupment.  It is open and accessible in a way that other far left orgs are not. 

It is a step out of the far left ghetto because it has tried to develop an organisation that does not make a fetish over a boutique program or one that is ruled by its own 'circle spirit'.  What unites the SA membership is a unity of shared activity not  a coming together premised on a specific world view laid out in chapter and verse or shibboleth specific... 

This means that in matters of platform and party program  the SA develops slowly, even cautiously, as it tries to advance by dint of as much consensual agreement as possible.

It isn't line ruled.

This may, does and should have its handicaps but the Alliance nonetheless has survived a few sharp divisions within its ranks without the membership  falling out among themselves.  If you are trying to create 'a multi tendency socialist party' you are going to have divisions and differences. It will be par for the course. 

At stake is how you resolve those disputes without alienating layers within the party while sustaining their commitment and allegiance.

At the same time you cannot simply ignore contemporary politics by allowing yourself the cop out the Greens employ and simply default to no position (and 'no' position so often means the relapsing to inaction).

Ultimately, this has to come down to a democratic challenge: how much real  democracy there is.

Perhaps you could have a truly rooly democratic party but what's the point of it if it doesn't prosper?

And it's true that the Alliance has neither grown sharply over the last few years nor prospered at the ballot box. It has won one local government position -- Sam Wainwright in Fremantle -- but while the Greens may be seen as the main left alternative more general support for the Alliance at election time will have to wait.

Nonetheless, the Alliance is increasingly  recognized as the socialists  on offer come each polling day.

This handicap has not undermined what the SA gets up to the other 364 days of each year. This activity -- of being seen to always come out fighting in many and various campaigns while also standing in elections -- has drawn a mixture of people to its ranks: indigenous activists, people leaving the ALP, those  disenchanted with the Greens, various ethnic community activists...and people who are located 'at large' where no significant socialist history  exists, such as in rural and regional Australia.

This makes the Alliance a mixed bag of adherents -- a membership that is not readily summarized nor characterised --  of a nature that is not easily organised especially in the way far left  Leninist type outfits tend to be. It is of no special type. While the SA continues to explore various organisational forms and norms it still is a party in waiting, for now more on a promise than  at this moment on delivering the broad socialist party it set out to become.

It has occupied the green left niche in Australian politics and keenly advocated a sharp anti-capitalist agenda in response to Climate Change. In that way it is a major ideological challenge to the pragmatism and pro capitalism of The Greens and its platform is consistently  judged the most radical  but environmentally sustainable on offer at election time. 

Similarly, its trade union perspectives both day-to-day on the job and its campaigning advocacy, are absolutely pro worker. While the SA has the broadest trade union implantation on the Australian far left , some unions will donate to the Alliance, but none, thus far, will formally and publicly support it.

That's in part due to its shallow electoral success (esp in comparison to The Greens) and the still strong rule Laborism has over the trade union movement here.

But I think where the Alliance has born the best results has been where it has forged broad alliances in a series of important campaigns and strived to sustain and build on those links. 

The Alliance therefore exists on two levels: within itself in the form of a party associating and bringing different socialists together;  and more broadly as an exercise in forging and consolidating broader campaigning alliances.

With its 7th National Conference coming up in January 2012, the world is still the SA's oyster.





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Baiada: Portrait of a strike

Community rally during the Baiada picket.
These interviews conducted during the recent Baiada Poultry Factory strike are POV gems that remind us that unions and struggle still matter.



Stick Together Show :Today’s show focuses on the ongoing strike by migrant workers at the Baiada poultry factory in Laverton, Melbourne. We discuss the Herald Sun’s negative coverage of the strike, followed by interviews with a Baiada worker, and a farmer who grows chickens for Baiada
Download audio file

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Graphics and politics : Bring back the red star

Source: Venezuela Translating the Revolution
Iconic symbols play a role in politics. Shapes and colours resonate and stand for ideologies and movements in ways that are historical rich and seeming substantial.

Red suggests socialism. Green, the environment movement. Pink -- gay and lesbian rights. Purple: Womens Liberation. The rainbow of colours -- a congregation and community of different peoples. Black: Anarchism.... Aboriginal Australia has its own three colours.

This colouring in of political allegiance has also been associated with shapes -- a shape to go with the colour. So Pink went with a triangle, and the Greens here snaffled the triangle shape to patent a Greens symbol by coloring it to preference. Further left, flags predominated and maybe clenched fists: Red flags. Graphics of black fists. But flags and fists have been the norm for the new left.
Aside: I've never been much of a fister. Only if pushed by immense peer pressure will I raise my fist aloft. It may be a traditional choreographed moment within the chorus of The Internationale ,  but usually hands -- my hands anyway -- are put to other uses.
For us socialists while there have been an array of symbolic shapes to draw upon historically -- the hammer and sickle, the red wedge or the red flag --  often the star has been neglected although in some countries it is banned!. Stars  were  a potent theme in the iconography of the old communist parties.  Unlike the Southern Cross on the Australian flag which denotes geography, stars on the flags of countries like Cuba can refer in the popular imagination to that country's politics.


So let's hear it for the  star -- the neglected red star of socialism.

But while we are celebrating the star -- dusting off the cob webs and polishing it up --  in Venezuela it is getting a  make over and the images above suggest how creative that make over can be.

Personally I'm so over red flags and outside a few bods on Mayday marches the red flag rarely gets an outing today. 

But a red star to match the Greens triangle patent....I like the idea. That it is here presented as a kite (and elsewhere as a flower to be nurtured and cared for) is a creative renovation of a theme.
Unfortunately, the five-pointed red star, a pentagram, doesn't make for good kite flying aerodynamics if one wanted to make it air born. as the boy above is represented. So cutouts, stencils, profiles and totems are the only way to go. Lettering inside the boundaries of the star is also problematical. But as a once-upon-a-time street theatre type and puppeteer, I think the red star has a lot of street promise.
One complication: on a red star, which way is up?
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The recent death of Shelagh Delaney

The recent death of Shelagh Delaney  warrants some attention.

Delaney isn't a household name. Maybe, at most, she is known because she is some how associated with British alt rock group, The Smiths.

But she had little to do with music being  primarily a playwright and screen writer.

The Smiths adopted her sort of like an icon.

But in way of consequence, Delaney wrote her first play -- A Taste of Honey  -- when she was 18 and if you aint seen it -- at least in the form of Tony Richardson's excellent film version -- you are missing something from your existence.

Why? Because -- to put it simply: "the play's the thing".

A Taste of Honey back at its premier in 1958 -- that's way back in stodgy  1958! -- challenged accepted mores of  class, race, gender and sexual orientation. A poignant often frank play, it's kitchen sink realism captures a yearning and a protest that still reverberates today.

I was involved with a production of A Taste of Honey in 1967 at a Melbourne mental hospital. Fresh out of school,and only 18 myself, my university campus -- La Trobe -- abutted a swathe of psychiatric institutions. Being  dedicated thespians a gang of us partnered a few projects in the neighborhood. Among these was a production of the play by patients.

We helped out.

Imagine a one off performance in  a large sitting room -- the ward's day room -- for 30 residents by folk who's issues with existence paralleled those addressed in the play.

It was a special experience. One of the best in my theatrical life.

Thanks to YouTubery you can watch the film version online  and maybe get a feel for why the Smiths were infatuated with the play and its author, and why The Beatles deferred to Delaney and recorded a cover version of the film's theme song.

I guess A Taste of Honey has cult status among those who are in the know. Delaney wasn't fashionable and in a sense she missed out on a ready Feminist imprimatur as her initial output  predated  the Third Wave.

But her achievement -- in creative isolation as it was -- is remarkable.

Good discussion about Delaney: Shelagh Delaney: extraordinary, unique, bloody marvellous   and the documentary below is renowned for its insightful portraiture of a working class life. One of Ken Russel's better works....


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SHELAGH DELANEY
A genuine poet has passed through the world. Shelagh Delaney exercised a wide influence with the shock of plain language, and shafts of satiric wit, into a severe and donnish 1950s world where working-class people had thus far been assumed to be simplistic, flag-waving cannon-fodder. Her writing was a magnificent confession of life as it was commonly lived in her hometown of Salford, with all of its carefully preserved monotony. She was attacked for immorality, which, then as now, is proof that you have hit on something.
'A Taste of Honey' was a sentiment that had not been expressed before its time - far more real than life.
It was the Salford of sagging roofs, rag and bone men, walk-up flats, derelict sites, rear-entrance buses, and life in tight circumstances.
Shelagh Delaney did not become fat with success, or become a celebrity, because she was of richer intellect.
She has always been a part of my life as a perfect example of how to get up and get out and do it. If you worry about respect you don't get it. Shelagh Delaney had it and didn't seem to notice it.
MORRISSEY (lyricist for The Smiths)
Los Angeles, November 2011
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Two useful documentaries on noir fiction

Useful? Maybe they are essential viewing if you want to get a feel for the scope of what's out there especially in the Nordic countries.


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Dave Riley on Kurt Vonnegut

This is now...

Here's a rule of life: never go more than 10 years at a spell without re-reading Vonnegut. I mean ALL of Vonnegut you can get your hands on. So I'm back there on rewind, reading Kurt Vonnegut. 

And starting back with Breakfast of Champions seemed like as good a place to start as any. 

But then there is no beginning and no end to Vonnegut -- it's all one big story written in parenthesis. It's stuff that ambles through the universe and into our social and political lives like the musings of a indulgent Alien, who ,after so long on earth, has learnt to appreciate the locals. 

Pity them too. 

Always there is pity coming from Vonnegut. 

***

This is 1993...The view from Tralfamadore

Fates Worse Than Death — An Autobiographical Collage of the 1980sBy Kurt Vonnegut
Vintage, 1992. 240 pp. $12.95
Reviewed by Dave Riley
Once upon a time artists were people; that is, they were for the people, by the people and of the people.
But all that changed. They began to fall back on themselves in search of a private vision, which in their lonely quest for profound expression made them incomprehensible to the rest of us. They tried very hard to tell us of our plight, but they had read so many books and thought so many thoughts that they forgot our language.
Then came Kurt Vonnegut. He wrote weird stories. People seemed to like him. His popular acceptance as a paperback writer rested on his literary prominence in the 1960s. He was a hero of youthful radicals, and his books sold in their millions.
Now 70 years of age, Kurt Vonnegut is still pumping it out.
Fates Worse Than Death is a freewheeling memoir of the '80s done as only he can. Recollections and anecdotes range through time, written with the wry wit and the sardonic good humour of an affable tolerance.
Vonnegut's idiosyncratic views are so profoundly human that he has not recovered from the fire-bombing of Dresden — which he witnessed as a POW in World War II — nor has he forgiven the United States government for the Vietnam War.
But he is not bitter enough to be satirical. "Listless playthings of enormous forces", is how he once described his fictional characters. In this most recent book, that listlessness seems to include himself. His attempted suicide and his mental breakdown are all part of the universal narrative. As many a Vonnegut devotee will tell you: so it goes.
Vonnegut really doesn't live in anyone's street directory. Formally a resident of the United States he seems to have his abode elsewhere, perhaps on his beloved planet of Tralfamadore.
Written from that perch his books have a quirky long view about them, where earthly time and place have little significance. In Galapagos — which he wrote in the mid-'80s — the human species is wiped out and replaced by a gene pool generated at the atomic bombing of Hiroshima.
In the books of Kurt Vonnegut the future comes uncomfortably close. The fates that are worse than death are really with us now, if only we could recognise them. Fortunately, surveying from a distance, Kurt Vonnegut is there to chart them for us.

***
If you haven't read Vonnegut, you don't know what you're missing. More than any other writer, I think he embraced the political promise of the sixties. It's almost impossible to consider that he could have had a career as a writer without a marriage with that broad insurgency. His initial success basically had to wait until that radicalisation began to kick in.



The period saw many novelists being taken up and embraced as radical chic: Albert Camus, Norman Mailer, Hunter S.Thompson, Herman Hess, Jean Genet, Allan Sillitoe, Gunther Grass, Yukio Mishima, Joseph Heller... (yes, primarily a list of males)but I doubt few were as generous as Vonnegut was in offering substance to mull over.

I think I've read Slaughterhouse Fivefive times over the past thirty years and I have tried to read ALL he wrote because there was so much there that was worth the reading, even though like a massive serial, the novels tend to merge with one another as often as the distant planet, Trafalmadore , becomes part of all these seemingly separate narratives. It's like this long line of montages:Cat's Cradle, Breakfast of Champions, The Sirens of Titan...

"and so it goes...."

Of course, Vonnegut -- he died this week at the age of 84 -- was no optimistic idealist. He was dogged by a very bleak vision indeed, affirmed in Dresden, that nonetheless was played out with such tension in his novels that you had to get caught up in the struggles this guy was having with himself. Vonnegut wasn't about insularity and angst or about giving up(despite his unsuccesful attempt at suicide ).

In Slaughterhouse Five, Billy Pilgrim witnessed the fire bombing of Dresden not because fate or some god willed it, but because other men with morals and interests beyond Billy's comprehension, put him there. It wasn't his fault.

And Vonnegut thereafter kept on asking: why?

And Billy, like all of Vonnegut's protagonists,were victims of this nameless barbarity which for some unknown reason they had the capacity to survive as though survival -- humanely and desperately -- was all you could hope for.

In his way, Vonnegut was a bookend to Harold Pinter because they kept addressing the savagery that stalks us from without and, I guess in the case of Vonnegut, the only way he saw you could protect yourself from it was to ignore it and adopt an alienated & sterile existence that was such a shallow shell that to go looking for anything else was to court madness or a stint on a planet far far away.

I'm having trouble here trying to describe the way Vonnegut pitches all this. He is/was unique as a writer. A science fiction novelist -- who wasn't. That's because his stories were about the here and now rather than fictional futures. These were not hypotheses, at all, but exercises in lives lived in alienation under capitalism.
KV:" …I have wanted to give Iraq a lesson in democracy—because we’re experienced with it, you know. And, in democracy, after a hundred years, you have to let your slaves go. And, after a hundred and fifty years, you have to let your women vote. And, at the beginning of democracy, is that quite a bit of genocide and ethnic cleansing is quite okay. And that’s what’s going on now."
-- Appearance on The Daily Show (September 2005)
***

Vonnegut: This stuff-that-he-wrote.

The very best thing about someone dying is, as the late Kurt Vonnegut is sure to agree, that you have an excuse to think about them.

"Oh," you say, "Kurt Vonnegut is dead? He wrote stuff."

And so it goes that you wonder about this stuff-that-he-wrote.

I did that. I went to Wikipedia and vetted the bio. I then thought I had a very little bit of Vonnegut to catch up with before I could put him to rest.

So I tracked down and read his last book, A Man Without A Country.

Darn good book. In his eighties Vonnegut is still very much Vonnegut. It was so poignant that it almost moved me to tears for its celebration of living even if that in turn is dogged by a massive desperation.

The thing was almost wise and wise isn't a term so much allowed today.

Headline:Wise old Vonnegut dead at 84.

Stiff bickies , Kurt. I guess it had to come some day.

As for me, I get to exploit the opportune excuse offered by Vonnegut's dying to go read what I missed and re-read what I hadn't.

So after I put down Timequake everything else is a going to be e-read.

That's what I call a fortunate death.

You should try to do that more often, Kurt.
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Line Dance Me

By definition, a line dance is a choreographed dance with a repeated sequence of steps in which a group of people dance in one or more lines or rows without regard for the gender of the individuals, all facing the same direction, and executing the steps at the same time.

I guess as far as we all know or care, line dancing is presumed to be boot scooting type dances where folk wear leather boots and Stetson hats while dancing to tunes like  "Achy Breaky Heart".  But a 'line dance' can be  any dance done in unison by a group of people.

What Country and Western has given us is the social and cultural phenomenon that is now so common that there is likely to be a line dancing group in cooee of your doorstep.

Often line dancing sessions are aimed at retirees and the aged because while exercising bodies they are not strenuous activities.

So there's a lot of bias engineered in what we may perceive to be line dancing: it's country and western music; it's for the aged; mainly for women  (because they don't have to wait to be asked to dance) and it's ever so hokey.

I admit I shared some of that view. I used to organise local community festivals and the local line dancers who always performed fitted the stereotype to a T. The line dancers and I did many a  gig with me working as emcee. We put on a very jeans, belt buckle and boot scoot show.

But something happened -- to me anyway. I have an unbridled passion for Zydeco Music -- the bluesy dance music of Southern Louisiana Creoles -- and in my desire to dance the Zydeco dance I discovered that there  has been a major change in line dancing form: the boot scooters don't have it all to themselves.

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Amen and Hallelujah! While I am a dedicated aficionado of American Old Time Roots music and used to play the clawhammer banjo in sync with the traditional music of North Carolina and West Virginia, a lot of modern  'country' music turns me right off.

It seems to live out its own caricature. But a year ago we moved to the Caboolture district here in South East Queensland and this neighborhood boasts its own Urban Country Music Festival  --  and besides, Keith Urban  comes from here. With its annual calendar of rodeos and gymkhanas, acre upon acre of horse farms and the national headquarters of the Australian Professional Rodeo Association in the main street --  our 'suburb' is consciously countrified.

So in this context, and with some trepidation that I was letting my music snobbery down, I went to  a local line dancing class.

To my delight, line dancing ain't all boot scooting. The country and western tradition has imbued line dancing with moves, forms  and techniques  that are easily adapted outside the ten gallon hat template. ... and adaption has proceeded a pace. Line dance here and you are as likely to be doing the Zorba The Greek dance as the schmaltzy beginners dance to the C and W kitschy tune, Elvira.

As well as this eclectic mix of tune and footwork, the sheer massive scale of the phenomenon -- as it now is a truly international obsession -- means that this huge community world wide gets to share its dance choreography through medium such as YouTube. 

This is where engineering and consensus rules because line dances are known by their set choreographies rather than their tunes. That means, for instance, while Elvira may be a single song -- it is also a dance that can be performed to other tunes.

This makes 'line dancing' very eclectic and potentially extremely adaptable. Flash mobs   are line dances, aren't they,  if  choro is involved? But beyond that  what seems to be happening in the United States , emanating from the Southern States like Texas and Louisiana is a very conscious attempt to adapt soul, zydeco, rhythm and blues, to the line dance format.

Here's an example: T.K Soul's Zydeco Bounce is a very conscious attempt to package Southern Soul with a Zydeco line dance delivery.


In fact when you do your homework,what used to be the on stage dance antics of performers like James Brown is now being replicated in various line dance moves by Afro American choreographers working in the community. So the permutations are endless.


This phenomenon is democratising dancing in a way that seems quite novel. After the various waves of dance fashion which have washed over us we seem to be have on offer a dance form that any one can do: whether geriatric or junior. And there's no strictly ballroom about it nor any need to compete.

Tt may be 'exercise' but it transcends the sterile focus of aerobics.

It's also gender neutral.

My family spent years ferrying our daughter to Irish Step Dancing events, competition and classes, and while the activity was always culturally significant -- my name's 'Riley' after all --  it was always exertion for the young and nimble. After a certain age,  most Irish dancers retire.

Step dancing a la Riverdance may indeed be a line dance  but it isn't something Grandma would be getting up for. 

So in an odd way, we have to dip our lid to the many aged line dancers and the c and w aficionados who have preserved an engagement that is now being offered to the rest of us despite our seeming preference for ignorance and two left feet assumptions.

We also get to  learn that group dance fun doesn't have to end with the Macarena. nor do we have to be  sentenced to the rank commercialism and fitness obsession of  Zumba.
“Dance first. Think later. It's the natural order.”
- Samuel Beckett




Want more line dancing? Check out the politically emergent comrades-- VIDEO Nepalese Maoists do Saturday Night FeverAs for the ethnic and cultural mix,  consider the Bollywood influenced Hare Ram line dance as choreographed by Malaysian  Jennifer Choo Sue Chin. So when it comes to 'Screwing the light bulb and patting the dog' (lingo for Bollywood dance moves -- you can attend Bollywood line dance classes too) -- the world is your collective oyster: Below we have a Indonesian line dance, taught in English by an Indonesian to a class of young people in Norway....


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CRIME FICTION : There is no mourning with dignity: Karin Fossum

The Water's Edge (Inspector Konrad Sejer, #8)

 Karin Fossum



I think Karin Fossum is the most emotionally interesting of crime writers. She moves you and makes you think about our relationships to one another in our communities. Regional Norway becomes a crucible of the rest of our existence and what assumptions may rule our perceptions. Her stories aren't so much about Inspectors Konrad Sejer and Jakob Skarre but about us. These coppers are mere conduits to confronting underlying conundrums. This story has a lot to say about the relationships mothers have with their young sons and sons have with their carers; about the yearning to have children and the struggle of child rearing.

The criticism levied at this novel -- that it indulges pedophilia is bunkum. In Fossum's universe there is no strict separation between good and evil. The medley of humans existing, of growing up and ageing in cohabitation with one another -- in the communities bequeathed to us -- is far more complex and engaging that the simple rule of law. Law, after all won't explain brutality -- it serves at best only as a means to assuage it.

In that sense Fossum isn't a very noir novelist. Darkness isn't as pervasive as the over bearing complexity that we have to deal with every day especially among the other humans with whom we co-exist.

But then Fossum is always open to lightness (and being! if you want to be truly empathetic) , to hope and the pleasures that we can obtain through knowing others -- including, it needs to be said, faithful dogs! We need to celebrate these pleasures because when we lose them -- such as through murder -- the loss is the more difficult to bear.

Pain is given absolute respect by Fossum. It is never a plot device. Pain and anguish, rather than murder and sin, are the most human of our collective existence. It is what enriches our humanity. It's not the dirty deeds --- dirty and brutal as they may be -- but that we must all learn to live with the weight of their dead hand.

So for Fossum the prospect of loss -- of having loved ones brutally taken from us -- is the most painful of what we may have to bear.

The funeral described in the novel captures that anguish so very well. After a ritualised, highly theatrical ceremony, seemingly beautifully engineered, the facade falls apart:
"Then something happened. No one was prepared for it. The vicar was shocked, everyone could see that. Some people clasped a hand over their mouth in fear, and Sejer felt an icy chill shoot down his back. Elfrid Løwe started to scream. The service had helped her maintain her composure, she had clung to the vicar's voice, but now she was screaming uncontrollably heartbreakingly, a protest which made people jump in their pews. The screams came from deep within her and pushed their way out with a force no one would have believed such a tiny woman possessed. For the best part of an hour the vicar had built a fragile construction of comfort and resignation. Now she tore it down. She screamed and she demolished it and people could no longer mourn with dignity."
Mourning with dignity? Evil doers will be punished (if not by us then by some god)? Law and coppers can make it all better again?...that's what society asks of us, or at least, asks us to believe in.

That's not how Karin Fossum tells it.


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Climate Change: Social Change Conference LIVE STREAM Sept 30/Oct 3


Some sessions at the  Climate Change Social Change conference are livestreamed.
Welcome to Green Left TV1
These are trial broadcasts but between September 30 and October 3 we will be broadcasting live from the Climate Change Social Change Conference in Melbourne, Australia
For more information about this conference go to here. There will be 80 speakers, six major sessions and 40 workshops

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Roberto Perez Rivero: Permaculture's Use of Water in Time of Climate Change - the Cuban Experience

Roberto Perez 1This is a very useful over view of Cuba's Permaculture strategy. The presenter, Roberto Perez toured here in 2008. See resources.

This presentation was delivered to the Tenth International Permaculture Conference (IPC10).

Image at left:London Permaculture.

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Presentation Files:
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(film noir) Force of Evil: "money has no moral opinions".

Trailing through  film noir archives is always a source for fascination as you never know what will jump out of the celluloid.

If you do some homework you'll be guided to alight upon particular films among the several hundred deemed to qualify for the label.

Among these gems is Force of Evil.

At its 1948 release it was misunderstood and dismissed, but Abraham Polonsky's beautiful movie is one of the starkest of the noirs I've come across.

Here there are no good guys but the inevitable tragic ending generates a much broader ruling on the world from which this noir came.

John Garfield plays a lawyer working for  a gangster and in his effort to enrich himself destroys the life of his own brother -- a role played by the always excellent Thomas Gomez ( a person who I think is one of the great film actors).

Standard noir melodrama perhaps. Throw in a love interest, some guns and street scenery -- and you get a formula film, right?

Wrong.

For one thing, Force of Evil boasts one of the most lyrical scripts you'll come upon.

Polonsky -- the writer/director -- into a brutal and relentless storyline, wove dialogue that  is stand out gorgeous chat  which  almost attains  a sort of Shakespearean relevance to the lot of these humans on screen. Caught up in conditions that  rule their lives, everyone is forced to make the best of what may be to hand: who they work for, what they do...as they have precious little choice in the matter. That's what you have to do in order to survive.
Sylvia Morse: [referring to Joe] Don't have anything to do with him, Leo. You're a businessman.
Leo Morse: Yes. I've been a businessman all my life. And honest - I don't know what a business is.
Sylvia Morse: Well, you had a garage... you had a real estate business.
Leo Morse: A lot you know. Real estate business... living from mortgage to mortgage... stealing credit like a thief. And the garage - that was a business! Three cents overcharge on every gallon of gas: two cents for the chauffeur and a penny for me. Penny for one thief, two cents for the other. Well, Joe's here now - I won't have to steal pennies anymore. I'll have big crooks to steal dollars for me!
That's Force of Evil's core moral presence: we are all shadowed by the evil the permeates the society in which we live. We may learn to coexist -- we have no choice -- but at its infective core the relentless force of this evil can only destroy all it touches as it is a resident evil driven by singular greed.
Leo Morse: The money I made in this rotten business is no good for me, Joe. I don't want it back. And Tucker's money is no good either.
Joe Morse: The money has no moral opinions.
Leo Morse: I find I have, Joe. I find I have.
And that's the problem: money does indeed have no moral opinions. It rules over us by its promise of  opportunity such that it warps our morality.
Joe Morse: To go to great expense for something you want – that’s natural. To reach out and take it – that’s human, that’s natural. But to get pleasure from not taking, by cheating yourself deliberately, like my brother did today, from not getting, not taking – don’t you see what a black thing that is for a man to do?
Force of Evil is a very thinly disguised metaphor for capitalism, and Polonsky, the dedicated soon-to-be-blacklisted Marxist that he was, pulls no punches in directing his first and the only movie he was allowed. This is stark stuff formatted by an overriding  menace that those who object or protest, or try to drop out, will only suffer consequence.

Just like its writer/director did.

But then, Force of Evil -- despite its rank cynicism, brutal tragedies and its measure of the corruptive power of fear -- reminds us that  hope rests in one option: if you don't fight, you lose.
[last lines - voice over]
Joe Morse: I found my brother's body at the bottom there, where they had thrown it away on the rocks... by the river... like an old dirty rag nobody wants. He was dead - and I felt I had killed him. I turned back to give myself up to Hall; because if a man's life can be lived so long and come out this way - like rubbish - then something was horrible and had to be ended one way or another... and I decided to help.

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Derek Wall and Muckaty women to participate in CCSC conference

Leading British ecosocialist Derek Wall (pictured left) has confirmed that he will prepare a video presentation especially for the World At A Crossroads: Climate Change Social Change conference in Melbourne September 30-October 3. It will be on the topic "Organising for ecosocialism" and we will probably show it in the plenary session on the evening of Sunday October 2. He will do a Skype audio connect to that session so he can join in the discussion as well.

We also have confirmation that two women traditional landowners from Muckaty (the site of the planned nuclear waste dump opposed by the local Aboriginal community and many others), Dianne Stokes (pictured below left) and Kylie Sambo(who is also a hip hop artist-- pictured below right), will be travelling all the way from Central Australia to the conference. 


Wall is running for chair of the Green Party in Britain and will know if he wins on September 8.
In the current issue of GLW, there are interviews with keynote guest speakers John Bellamy Foster and Ian Angus and also a profile article about the three young Cambodian women activists who are coming to the conference.

The longstanding and globally respected Monthly Review magazine, which Foster edits, has become the latest co-sponsor of the conference, joining Melbourne University Office for Environmental Programs, Friends of the Earth (Melbourne), climateandcapitalism.com, Links International Journal of Socialist Renewal, Labour Party Pakistan (LPP), Sydney University Political Economy Society, Socialist Party of Malaysia (PSM), Partido Lakas ng Masa (PLM – Philippines), Australia-Asia Worker Links, Left Unity Adelaide, Adelaide Climate Emergency Action Network (CLEAN), Community Radio 3CR, Transform Asia and Action Aid International.

Individual sessions are being sponsored by the Victorian Trades Hall Council, Earthworker and the Society on Social Implications of Technology (Australia).

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Left publishing at an impasse

When I began to move leftward my journey was trail marked by a succession of left bookshops. I came from the  Baby Boomer perspective that you could read your way into a new identity. And left books -- by registered socialist types -- were seen as an extension of the avaunt garde and Bohemia.

In fact they were. For a time there Modernism's offspring was having a passionate but illicit affair with stranger danger gang of Marxism.

So the template that the New Left worked from was a written one: left bookshops, left publishing, left newspapers and left journals.

But over time that  easy  positioning of the printed word -- of advancing your agenda in hard copy -- has receded  somewhat as newspaper and book publishers -- the boss cocky millionaire types like Rupert et al  -- know so well.

The locus of interaction has shifted  and, let's say, it no longer is only  positioned over the counter in a lefty bookshop  or across a card table at a protest gathering.

We can regret this -- but them's the facts.

But in my coal face experience there are many on the left who won't accept that these changes  are occurring and adhere to the view that the only real political  text worth the sharing  is one on paper. Part of this preference is sustained by the complication that online text after one thousand words or so  is hard to read in a single sitting.  So hard copy looks good as an option. 

I have no argument with that.

What then happens is that because there is such a strong publishing culture on the left some accommodation is engineered and layout skills are given their deference enough for folk to share their written work as pdf.

If you don't know, pdf is primarily a printer's format -- the best way to get exactly what you laid out, where you laid it out (pictures, headlines, graphics, etc),  printed on paper.

The problem is that it isn't very good as a reader's format as it presumes a  hard copy stage and the pdf page is presented on your computer , in effect, as a slide show of photographs of pages.

I should point out that the left isn't alone in their use of pdf. Publishers still use it and you'll find millions of pdf books packaged as 'ebooks' for online sale and download. For large format books such as coffee table works, comics and manuals with many illustrations it is still rules the market place and illustration preference.

The complication is that the most useful way of getting the pdf text off the  desktop computer screen at the other end is still to print it.

Now with the burgeoning growth of ebook apps, ereader software and portable devices -- even mobile phones can read some ebook formats  -- pdf is an extremely  cumbersome sentence for  all the  text the left offers.

The irony is that the left's library is overwhelmingly made up of dense text. Just go visit the Marxist Internet Archive  to see what the catalogue offers. It's all words.

There's no pretty pictures at all.

That Archive is now beginning to offer its books in  epub, mobi and odt formats -- as well as pdf -- but I fear it is almost  alone in doing that.

So what to do about this? 

I think there is a case -- indeed  a  potential niche -- for an online left bookshop that offers left texts in formats other than pdf. My experience with platforms like Smashwords  is that the potential to create an  online independent publishing house  is opportune. You can charge whatever you want or offer freebies and build up a catalogue that will be much broader choice than any stall at any protest rally or any wall of dog eared pamphlets in a bookshop. You can link various texts  for study purposes to a syllabus  and, if required, append learning   to presentations (aka  powerpoints). 

On top of that you 'may' get some items in your catalogue taken up by the big online bookstores.

And when you charge you make money. You have a bona fide retailing outlet in the same way that the once upon a time well patronised left bookshop was. Here's a sample from a single author/publisher -- Lenny Flank -- which carries a few radical texts in the (rather eclectic)  catalogue.

For the rest of us -- the lefty consumers -- what we get is going to be so much cheaper (or free), easily accessible,  and in the formats of our choosing. And it's always going to be there downloadable any time as a ready reference.

The result will definitely be that more of this stuff will move ('off the shelf')and more of this stuff will be read because the audience is going to be so much larger than those who visit a hidden away bookstore or singular card table.

I personally think that there is also a case that left journals  could also be offered in a range of ebook formats as well as in hard copy. That may seem anathema -- but let's just say it's early days. But look at it this way: a journal  offered in a range of ebook formats (other than pdf) can be sold and subscribed to in the way an online web page cannot. Example option -- one of many. In fact the left press would have an ebook format advantage over the bourgeois media in that it is not advertisement driven  and any reader of online newspapers will tell you that ads kill the experience of news monitoring. (eg: individual newspaper apps on iPad for instance are brutal in-your-face advertising trolls).

Them's are apple's worth liking.
If you have not been exposed to ebook mode click here -- -- and see if your desktop has an ereader. For a great free one, Download Calibre. You can also run Calibre on a USB stick!
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Lucky you! Another (free!) eBook : Life of Riley (a satire selection)

The very generous author
I am a generous kind of guy. My mother's son. Here I am putting in all this work wearing my few available typing fingers down to their phalanges and I then offer you -- my reading public -- free stuff. 

I aim to serve.

And serving up don't come much cheaper than this.

Free.

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