The King’s Speech and The Revenge of Metaphor

King George VI

it is difficult to go on believing in the essentially conservative idea of nobility when you have regarded the dripping underpants of the Prince hanging upon the line

✎  WAYNE K. SPEAR | DECEMBER 29, 2010 • Film

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HERE WAS A remarkable showing of blue in the theatre this week when I saw The King’s Speech, which is why I begin with remarking it. It indicates that most of this audience would have been alive in 1936, when Albert Frederick Arthur George Windsor assumed the throne of the United Kingdom, just abdicated by his brother, thereby becoming King George VI. Continue reading The King’s Speech and The Revenge of Metaphor

Flecton Big Sky, “Homage”

Liner notes for the album Homage, by Flecton Big Sky



Like you and me, like everyone, making it up as we go along, Flecton Big Sky has turned out a few … let us say, debatable … decisions in life along the way. Life by necessity is material for improvisation: when the results are harmonious, it’s out of sight — and when it’s a fuckup, it’s a case for hindsight. Well, friends, that’s life. But then there’s music, and in music Flecton Big Sky has made excellent decisions. In his choices of songs and collaborators, he’s demonstrated over the years a knack for creating, to borrow from Pablo Neruda, “a generous, vast wholeness / a crepitant fragrance.” Harmonious, out of sight, sound — all without a plan, without a thought of road’s end. It happens that I’ve been around when some of the improvisation was going down, and I could never figure out how he does it, how he makes music without ever thinking about making music. Without ever preconceiving. Here is a man who goes into the studio tabula rasa, a blank slate. A few days later, out he comes, improbably, with these sounds of his. What’s the deal? I puzzled over that one for a good long time. The problem was that I was looking at it from the music point of view, not the life point of view. Sure, Flecton the man is also Flecton the musician. They’re both just making it up as they go along. It comes down to decisions, but not of the musical variety. Flecton is a man with a great, sensitive soul. He trusts his instincts, and his instincts serve him well. He trusts his friends, and his friends trust him — as well they should, because there’s no one more trustworthy than Flecton. This is the secret to his music, this trust. Flecton connects to certain music and musicians through gut instinct and sensitivity. And once he’s connected, he stays connected. He’s never forgotten his roots. They continue to nourish him. He’s loyal to a fault. Respect, loyalty, due acknowledgment of one’s indebtedness, and music as a soulful connection: these are the meanings of homage, a word derived simply from the word “man.” In this case, the man who is Flecton Big Sky.

– December 2010

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The Haudenosaunee | Part Two, Ohentonkariwatehkwen

I suggested in the previous instalment of this series that the improbable unity of the Rotinonsion:ni (Iroquois) arrived as a matter of extraordinary good fortune, in combination with great effort and practical necessity. One is well advised not to take such a thing for granted, and so we arrive at the Ohentonkariwatehkwen, or “the words which come before all others,” also known as the Thanksgiving Address. Continue reading The Haudenosaunee | Part Two, Ohentonkariwatehkwen

The Haudenosaunee | Part One, Origins

The image above represents the story of the five founding nations of the Haudenosaunee (pronounced ho-din-oh-show-nay and meaning “the people who are building a longhouse”), in English the “League of Nations.”  This graphic is a stylized digital version of the original Peacemaker belt, a wampum belt made of the purple and white quahog shell, strung onto thread of sinew or plant fibre. There is an enormous amount of information stored in this belt, so let’s begin the story. Continue reading The Haudenosaunee | Part One, Origins

The Flanagan Slip


Arriving at precisely the moment the quite probable hand of Mossad has been discerned murdering Iranian scientists in, as they say, broad daylight on the streets of Tehran, Tom Flanagan’s call for the assassination of Julian Assange is remarkable only for the lathered and laboured shock with which it has been received. If you doubt there is already an ad-hoc CIA cell at some point between prophase and telophase, just in case, you haven’t been paying much attention to real-world geopolitics. Julian Assange is a wanted man, and the people by whom he is wanted have much more than Mr. Flanagan’s meagre ounces to put behind the shove. Continue reading The Flanagan Slip

Chief Shirley Clarke, brought to you by the Indian Act

You may not be aware, so allow me to begin this discourse by mentioning that Glooscap is the name of a Trickster figure, that curious mythical creature who is part fool, part teacher, and in composition an improbable union of the human and supernatural realms. One is well advised to pay close attention to the Trickster, even if only for the reason that something is certain to be revealed. Continue reading Chief Shirley Clarke, brought to you by the Indian Act

The Haudenosaunee

Over the coming weeks, I shall be writing a series of articles concerning the Haudenosaunee, known also by the English renderings, “People of the Longhouse” or the “Six Nations Confederacy,” and by the derogatory Huron term rendered in French as “the Iroquois.” As I am myself a citizen of the Haudenosaunee, I will begin the series with some historical considerations written from my personal point-of-view. Along the way I will present something approaching a narrative of the Haudenosaunee, the intentions of which will be: Continue reading The Haudenosaunee

The Compulsion to Write (pt. 3)

Writing

ALTHOUGH I KNEW at a young age that I should be a writer, little else would be sorted out until many years later, and then often by accident. When I was a child, say, ten to thirteen years old, I had only vague ideas about what a writer even was. I suppose I imagined a cold and dark room and a gaunt person at a desk, producing poems and novels, posting them to publishers who would promptly send back letters which read Thank-you, but no thank-you. In time I would have a more informed picture of a writer’s existence, having learned that publishers in fact do not send these letters, or any other, promptly.

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The Compulsion to Write (pt. 2)

In his essay, “Why I Write,” George Orwell identifies the following: 1. Sheer Egoism (“desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood, etc”), 2. Aesthetic enthusiasm (“perception of beauty in the external world, or, on the other hand, in words and their arrangement”) 3. Historical impulse (“desire to see things as they are, to find out true facts and store them up for the use of posterity”), and 4. Political purpose (“desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after”). Knowing that I would be writing this essay, I tried to improve upon this list, but to no success. There is only one conceivable addition, approaching the matter as a male heterosexual writer: 5. To bed women. Continue reading The Compulsion to Write (pt. 2)

The Compulsion to Write (pt. 1)

Illustration by Anthony Russo

I was eight years old and urinating in the bathroom of my parents’ Central Avenue house when the precise words manifesting a desire to fill my life with writing first came into my conscious mind. Why this thought occurred to me at so late a date, I am unable to say. Continue reading The Compulsion to Write (pt. 1)

Going Home


Reading of the ghost estates and the collapse of the Irish economy, my thoughts returned today to the small, southern Ontario town in which I was raised and which I recently visited. The surge and fall of the Celtic Tiger reminds one, as if reminder is needed, that life in the age of finance capitalism can be a matter both of spectacular rise and of sudden, disgraceful cadence. Or, as has been the case in my hometown, of lingering and even interminable decay. Continue reading Going Home

On Not Being There


As I took a cell phone and netbook, it is inaccurate to claim I “unplugged” on a recent trip to Chicago. I did however go without newspapers and without thinking about work and the many things left behind, and being outside my routines and therefore in a sense outside my habitual self, I do feel as though I had.

It is a telling metaphor, this unplugging. One employs the word in its broad sense, not only to the electrical circuit but to one’s own body and, specifically, brain. Such today is the comprehensive material burden of connectedness, a word which could once have been rendered only in human terms, but now invokes the clichés of social media. Pulling out the electrical plug seems uncomplicated enough. It is so easy to walk away from connections of the Internet sort that not to do so has become the only thing easier. Continue reading On Not Being There

The Klan Comes to Campbellford

Often I find that an aid to arriving at my own understanding, as well as to the task of explaining something to others, is the drawing of an analogy. Find something familiar and which one already understands from the inside, and to that compare the unfamiliar, the novel, the exotic. It works quite well, with one noteworthy exception being racism.

Give it a try. You’ll discover there is no at-hand analogy in the Euro-Canadian cupboard for the systematic oppression and mob lynching of dark-skinned persons — nothing of which may be said, “It was like that for us, too.” For this reason, white people will never really understand the trauma of racism from the inside. Now that I have established that, let us consider what transpired this past Hallowe’en at the Campbellford Royal Canadian Legion, so that we may better separate the wheat of anti-racism from the chaff of rube blundering. Continue reading The Klan Comes to Campbellford