Showing posts with label politics. Show all posts
Showing posts with label politics. Show all posts

18.2.20

A Conversation with Jeremy



On the 31st January 2020 I was at a loose end in the morning. As a result I decided to visit Parliament Square, on what was, for better or worse, an historic day. It was an impromptu decision. I went with no expectations or agenda, save to bear wit- ness for a moment.

I arrived around 12.30pm. It was early. Any drama would happen later in the day. The square for now belonged to three separate parties. The tourists, the interna- tional press and the activists. The press had taken the high ground. Cameras set up for takes of the reporter speaking to camera with a backdrop of Parliament, and a boarded up Big Ben. Efficient women in smart clothes with one or two blokes in tow. The blokes setting up tripods or carrying bulky TV cameras. The tourists were the same as they would be on almost any other day. Bemused parties from around the world, temporarily caught up in the theatre of a national identity crisis. It might have been me but it felt as though many of the tourists seemed to have the voyeur- istic awareness that goes with watching parents trying to control a fractious child. They could look on condescendingly, knowing that this really wasn’t their problem.

The third party was the activists. I call them activists because these were the ones who were clearly there to promote or support a cause. The cause being Brexit, either for or against. The majority were there to support Brexit. A handful were wav- ing EU flags on the western side of the square, whilst the Eastern side, towards Tra- falgar Square, had been taken over by a ragged bunch of Brexiters. Many of them draped in Union Jacks, almost as many draped in the Stars and Stripes. There were a fair few “characters” who seemed to be looking for their fifteen minutes of fame. A man in a MAGA hat and sunglasses standing on a homemade plinth. Pseudo “Paras” wearing purple berets. One man in a Brexit party wind cheater. Some older women wrapped in flags who looked like they were hoping for a knees-up.

I moseyed around for a quarter of an hour, stopped to take some notes, then de- cided there wasn’t much to see and started to make my way out of the square. It was a gunmetal grey day with no hint of sun. Sometimes you feel the need to bear witness and you encounter something extraordinary or revelatory, but today didn’t feel like that at all.

As I was leaving the square I saw that a group was putting up a home-made mani- festo, attached to a plyboard construction that had been rigged up beneath the statue of Churchill. I stopped to read the manifesto. It stated ten demands. “1. Restore our Freedom of Speech eroded by hate speech laws. 2. Restore our right of self-defence and to bear arms. 3. Restoration of Common Law, Magna Carta and Bill of Rights. 4. Restoration of Double Jeopardy, jury trial and access to Legal Aid. 5. End the Cultural Marxist agenda and destruction of the family in our education system, law and public institutions. 6. Comprehensive teaching of British History, Geography, Constitution, and Christian Faith in our school system. 7. The return of full control of British Fishing waters, 200 miles. 8. Veterans priorities for housing, benefits and services. 9. No E.U. flags on official buildings. 10. Full disclosure and prosecutions for those involved in crimes and responsible for cover up of grooming gangs”.

For the first time I a twinge of anger. It seemed invidious that this group was taking advantage of the occasion to polemicise. Quite apart from what is known as the dog-whistle racism. I suppose my irritation registered on my face. I took two photos, including one of the man who was helping to erect the large poster. He was a tall man, with glasses, an anorak, faint stubble. He muttered something at me. I muttered something back. “Disgrace” was the word I used. A very British reproach. The man then turned and said: “You with your face like a donkey’s arse.” I wasn’t sure if I’d heard him right, so I stepped towards him and asked him to repeat it. He said that I was “one of them”. I asked him what that meant. He said: “You didn’t get a mouth like that from sucking oranges.”

There was something absurd about this man and his insults. I think I registered a homophobic note, which in itself seemed curious. I hadn’t gone looking for trouble and perhaps at this moment the prudent thing would have been to walk away, but at the same time, I felt like, why should I permit this man to insult me and not stand up to him? So I asked him what he meant by ‘one of them’. He replied “You know” and backed away from me. I followed him. I said I didn’t know. I asked him to ex- plain. He backed away further, stepping behind the trestle table. There were people all around us, most of them, I presumed, his people, associates of this group with its manifesto. I asked him if he was scared of me. He said he wasn’t, so I asked him to repeat what he had said. He moved away again but by now I had no intention of letting him off the hook. I took out my phone to jot down his reply. “Some- thing about my face,” I prompted. He then repeated his phrase. I noted it down. Then I asked him what he thought his face looked like. This seemed to wrong-foot him. “I don’t know”, he said, “probably like my mother and father’s faces.” I asked what their faces looked like. He then told me that he didn’t know what his father’s face looked like because he’d never met him. His father had walked out on him be- fore he was born. Then he told me that he knew what I was like, and I asked him how he thought he could know anything about me if we’d only just met. “I know you voted three times for Tony Blair,” he said. How did he know that? “I’m a bit of a psychic,” he replied. “My father was a big follower of Aleister Crowley”.

Things were taking a turn for the surreal. Aleister Crowley, the notorious black ma- gician, one of those faintly mythological characters who claimed to have com- muned with the devil, who was part Svengali, part fraud. Somehow it made sense that this strange man, who told me his name was Jeremy, should have steered the conversation towards his absent father being a follower of the devil-worshipper, Crowley, here on this day in Parliament Square.

At this point, which was when I was thinking about leaving, that we were ap- proached by an Irishman who said he was a reporter for the Irish Times. He asked us what we’d been discussing. I said that Jeremy had been talking about Aleister Crowley. This provoked the Irishman’s curiosity. He asked Jeremy if he’d be happy to answer a few questions. By now it was clear that some kind of transformation had occurred. Jeremy seemed keen to talk. The abusive man welcomed the chance to get his opinions heard. Later, as Jeremy’s lonely story unfolded, it struck me that the abuse might actually have been a form of reaching out, of communicating. I also wondered if his chosen insult, ‘a face like a donkey’s arse’, might not have been one that had once upon a time been aimed at him, which he had then appropriated.

The Irishman, who I later learned is called Patrick Freyne, thankfully took over the interview. I listened and interjected from time to time. Patrick’s condensed account of the conversation can be found at the end of the report he later filed for his newspaper. (https://www.irishtimes.com/news/world/uk/patrick-freyne-in-parliament- square-brexiteers-make-hay-at-final-fling-1.4158066?mode=amp). 

The more detailed version goes something like this. Jeremy’s father was/ is Dutch. Both his parents worked for airlines. He still has a soft spot for Heathrow. He spent his sixteenth birthday in Libya. Later he lived and worked in Malaysia for many years. He has a Malaysian daughter. (“And people call me racist.”) Patrick expressed surprise that, given his cosmopolitan background, Je- remy was so keen on pulling the drawbridge up. He denied that this is what Brexit is doing, saying London had always been a cosmopolitan port city. At which point I asked him if he’d be happy to see London continue to be a “cosmopolitan” city, something that seemed at odds with the manifesto he’d been putting up. Jeremy displayed a slightly awkward smile and commented that London had changed so much since he was a child growing up in Gloucester Road. I asked him what he meant by the word “change” and he said it used to be full of independent shops but now it was full of Prets.

Jeremy was quite good at side-stepping awkward questions. He’d tell us we need- ed to speak to Dan, a grey-haired man in a charcoal coat with a goatee who looked as though he might well have been a “cultural Marxist” in another life. Dan was set- ting up the stall and was evidently something of an authority figure. In his lapel was a silver pin of a sub-machine gun, which I took to be a Kalashnikov but Patrick’s article reveals was a Thompson. It caught my eye and I asked Jeremy why Dan was wearing this pin. Jeremy replied that it was because Dan and his followers were be- lievers in the second amendment. The Irish journalist expressed some surprise at this. He asked Jeremy what would happen if they didn’t get what they wanted out of Brexit, observing that everyone seemed to have a different idea of what it ought to mean. First off, Jeremy said that they’d infiltrate and take over the Tory party, “like the Marxists have done with the Labour party”. Then if that didn’t work, he said with his little smile again, a lot of people were talking about civil war. He said he didn’t necessarily agree with them, but.... “But you’ve won,” I said. “You’ve got your Brexit. You’re here to celebrate your victory. Who would you be fighting against?” “The leftists. The other side. It’s obvious that the leftists have won.” He looked even slightly mournful at this point. He wasn’t just saying this. He meant it. He felt as though he had lost. They’d won a battle but lost the war. The “cultural Marxists” had won.

By this point Jeremy had become quite affable. He had even gone so far as to apologise for his abusive language, when we discussed free speech and I said he had a right to say what he wanted but that didn’t mean he needed to be offensive. We talked briefly about whether it was right that they should have set up office be- neath the statue of Churchill and Jeremy commented that Churchill was another one who had been too leftist for his own good. When the conversation had started he had told Patrick that he was “to the right of Genghis Khan”, but now he back- tracked a little, complaining about how he had been insulted and called racist. It seemed obvious to me that, even though his organisation was espousing racist views, Jeremy didn’t believe he was racist and it upset him to be perceived in that way. The discrepancy between his stated aims and his personal idea of who he was didn’t seem to add up. He talked a lot about the need for a family-based society and the more he talked about it the more I found myself thinking about his absent, Crowley-following father.

In the background some of the beret-wearing pseudo military types were stamping on an EU flag and singing a bastardised anti-EU version of Auld Lang Syne. The conversation was winding up. All of a sudden Jeremy threw out a term that neither of us quite understood. He said that everyone had been black-pilled. The journalist picked him up on this. What did “black-pilled” mean? Jeremy explained that it was a term that came from The Matrix. Most people were black-pilled, which meant that they couldn’t see beyond the world that had been constructed for them by mod- ern media. But he and his people were “red-pilled”, which meant they could see through to the truth. There were also “white pills” which were the happy pills.

At which point the conversation became less happy. Jeremy told us he had had a business in Borneo, but his business partner had ripped him off. It wasn’t clear how long ago this was, but now he was back in London, living on the streets. He had only come along today to enjoy some time with his people.

His final words were the ones that most took me by surprise. He said that as soon as he could, he was going to go and live in Hungary. He’s a big fan of Orban and his “family values”. “But you won’t be able to go and live there now,” I said. “You’ve just made sure you’ve taken away your right to live there.” Jeremy wan’t convinced. He said he’d been to the embassy. Orban would welcome like-minded Christian- values people like him. He was sure of it.

A child in a crusader helmet and George Cross shirt was manning the desk that had been set up below Winston Churchill. A chunky fellow in a MAGA hat was flitting around. Jeremy faded back into the pack of his people. The journalist and I chatted for a while. He told me that Jeremy was far from the most extreme. Some of the people he had spoken to were genuinely scary.

There’s a great deal of discussion about the “leavers”; who they are and why they voted leave. The journalist, Patrick, was clear in that there is no coherent, unifying principle behind the leavers approach. Beyond the claims of “sovereignty” or “independence”, the aims are amorphous, shape-shifting, emotional. It’s about the gut rather than the intellect. An urge towards an idea of freedom which they cur- rently do not feel they possess. What that freedom might turn out to be is some- thing of a mystery to them, not to mention anyone looking in from the outside.

In truth, you could have seen an argument being made for the Leave campaign, at a certain point way back down the road. The EU has its flaws. Ask anyone from a country outside the EU who wants to come and work there. Ask anyone on a boat in the Mediterranean trying to enter it. Having said this, all political systems are flawed. The only place where the political system isn’t flawed is a totalitarian state. But fair enough, there was, once upon a time, an intellectual rationale for leaving the EU, whose greatest proponents, have either deserted (ie Roland Smith) or turned into barefaced liars (ie Daniel Hannan).

What seems apparent from the reporting of the the triumphant Leaver night of 31 January 2020, is that this is an emotional victory. It’s politics, economics and demo- cracy viewed through the lens of a football match. One nil to the England. It’s also a way in which people who have felt powerless, or disenfranchised, to feel a moment of power. Which for them is equatable to taking back control. For a moment. What was most terrifying speaking to Jeremy, is that this is nothing more than a moment.
The war, in Jeremy’s eyes (against “cultural Marxism” or “the other side”) is one that is still being lost. Brexit has been part of that war. It’s their Battle of Naseby. Brexit isn’t the end of anything for them. If anything, it’s the start.

When I left Parliament Square I walked along the Thames to meet a friend for lunch. It reminded me of a similar walk I took on the 7th July 2005. That was the day of multiple terrorist attacks in London. The attacks took place in the morning. At lunchtime I decided to go for a walk and get the pulse of the city. What seemed remarkable that day fifteen years ago was the sang-froid. People were going about their business like it was any other day. Some waved at police frogmen in front of Westminster. The city’s phlegmatic insistence on carrying on as normal had been heart-warming. The British keep their cool. They don’t get overly emotional, which is sometimes seen as a weakness but in this case was clearly a strength. On Brexit day, the streets outside Parliament Square were similar. There were joggers. A man walked by wearing EU trousers, but that was as political as it got. Only this time, it didn’t feel the same. It felt as though something had changed, irreversibly, but not for the better. The ones talking about using guns and imposing their views on the population weren’t radical Jihadists; they were malcontents who dressed their kids up in a George Cross outfit and a crusader helmet.

As far as Jeremy was concerned, I was the enemy. It isn’t hard to see how a violent use of language could presage the adoption of physical violence. This isn’t about Europe anymore. It was never about Europe. It’s about deeply held resentments that have never had the chance to be lanced. Resentments that brood and breed in splenetic corners of social media, in the drunken hours in pubs where time stands still, in the lost dream of a land which never was and never will be but survives in the imagination of a desperate man walking the streets of a city which has changed beyond recognition, failing to realise that the world has changed, that there’s no going back, that the future will only look like the past in theme parks he cannot afford to visit.



18.10.18

'will of the people' according to John Stuart Mill


“The will of the people, moreover, practically means the will of the most numerous or the most active part of the people; the majority, or those who succeed in making themselves accepted as the majority; type people, consequently, may desire to oppress a part of their number; and precautions are as much needed against this as against any other abuse of power.”

John Stuart Mill, On Liberty

1.10.16

where are the europeans? (brexit and the british stage)



For all the gnashing of teeth from the literati, it’s not as though the British theatre world has done much to embrace Europe over the course of the past 3 decades. Whilst many a US author (Shinn, Shawn, Mamet, Norris etcetera) has had their day in the sun, the roll call of living European writers who aren’t Irish who have had successful productions is pitiable. It’s a struggle to think of a single playwright who has broken out. The odd play is staged, but Europe’s most celebrated contemporary playwrights remain unknown by the average British theatre practitioner. Noren, Fosse, Lagarce, Bernhard,  Koltes, Bebel, Loher… Ask most theatre practitioners and it’s doubtful they will have come across any of them. For most, Europe still means Brecht, Chekhov and not much more. Any attempt to open cultural vistas, to effect an exchange between the UK and its continental European colleagues has been negligible. Is this because these writers and many more are not much kop? Of course not. It’s probably due to a combination of imaginative and commercial reasons, due to a reluctance to seek out a horizon that doesn’t offer a backstage pass to Hollywood and its rewards. The introspection of the British cultural world, with the privileged linguistic space it believes it occupies, is no more than a reflection of mainstream political practices which have helped to create the circumstances under which the vote of 23 June was effected. 

It’s perhaps worth trying to focus on a couple of the great success stories of British theatre over this period. Firstly, take Sam Mendes, an Oxbridge contemporary of the Cameron gang. Mendes, on the back of his Oxbridge productions, broke through as the great white hope of British theatre in the late 80s. His take on the classics was seen as fresh and invigorating. He soon became the heir apparent to the generation of Hall and Nunn (a generation which it might be said entertained rather more intellectual curiosity). In 1990, Mendes took over the Donmar in Covent Garden. The Donmar had all the trappings of a fringe theatre, subversively planted in the heart of a booming new commercial area, Covent Garden. It had the potential to become one of the most radical, exciting theatre venues in Europe. Instead, it became a space dedicated to astute commercial practice. A thriving ‘boutique’ theatre evolved appealing to an elitist audience. Mendes maintained his reworking of the classics whilst also starting to mine the hyper-lucrative medium of the musical. As a creative theatre space, the Donmar never really got going. Mendes left and ended up directing Bond movies, whilst forming his own transatlantic company which does - you guessed it - classic texts with well-known stars. A more conservative approach to theatre would be hard to imagine. Theatre is always a trade-off between artistic and commercial instincts; Mendes’ career shows where the British emphasis has lain. Texts which might be seen as ‘difficult’ need to wait however many decades is required before they can get the imprimatur of ‘classics’ and be sold to the public on that basis. The notion of theatre as a process of intellectual investigation, an investigation which includes a dialogue with an audience, has been shelved. 

Mendes’ career is only one strand in recent British theatre history. It could be argued that the Donmar has an obligation to meet the bottom line and to put on shows that please the punters. However, it might also be suggested that this is to miss the point of culture, which is not to be a merely commercial vehicle, but a means whereby societies can begin to define themselves and also interact with other cultures. The Royal Court is a theatre which has ostensibly sought to embrace this point of view. Over the past three decades it has consolidated its position as the leading new writing venue in the country, not just for British writers, but also for writers all over the world. Indeed, the Royal Court runs its own “international” department. The exact brief of this department is sometimes hard to gauge. At times it seems like a post-colonial enterprise, as ambassadors from the British writing establishment are sent out to help “develop” playwrights in other countries. On the other hand, it could also be argued that it offers a point of cultural exchange, allowing British audiences to get an insight into what’s going on theatrically in the wider world. 

There are two major problems with the Royal Court’s approach towards international writing. Firstly, as part of its remit is to “develop” writers, this means it tends to work with writers who are still at a formative point in their careers. Much as the idea of Thomas Bernhard attending the Royal Court’s international residency tickles the fancy, the conditions under which the residency is run mean it would never have happened. Great writers don’t require “development”. They need their plays to be staged. However, the Court is more inclined to use the gaps in its scheduling for international writing to promote those writers it has invested in via its international outreach work. This leads to the second problem: that in its avowed mission of ‘development’. The Royal Court has effectively turned its back on the most important plays and playwrights currently writing. It doesn’t want to show the best; it wants to showcase its own good intentions. As a result, one of the few theatre spaces in the capital which might have had the energy to tackle the work of the major contemporary playwrights of Europe and beyond, has failed to do so. Look at the list of plays staged in the main house over the past thirty years and the number of plays from Europe is negligible. The greatest opportunity for dialogue theatre offers - staging plays of significance by great writers - has been forfeited. 

The writer understands that it is unfair to condemn the lack of European theatre within our (European) theatres at the door of either the Royal Court or Sam Mendes. Rather, these two examples have been cited as indicative of how our theatres would appear to have turned their backs on the continent long before 52% of the British population chose to follow suit. This only matters in so far as we choose to believe that culture matters. Had the Court and other British theatres been awash with productions of European playwrights it might not have made the slightest of differences to the political climate. However, if one chooses to believe that culture can have an effect, for better or for worse, on a nation’s consciousness, then it might be reasonable to suggest that the introspective, anglophone attitude of British theatre, regarding itself more as the 51st state of the United States than an active player within a European community, might be at the very least worthy of quiet reflection on the part of our theatre practitioners at a time when the cultural value of belonging to Europe has been so bitterly rejected. 








12.2.11

new writing in new places @ #royalcourt

Hungover, I just make it in time for the start of the talk. Three writers and a director. Most of the things said seem reasonable, with everyone careful to stress that the purpose of the new writing initiative abroad is not to produce a 'royal court' play, but to explore and exchange. The writers relate how much they've got from the trips abroad, something that doesn't really seem surprising. There follow a few questions which are too complicated for my addled brain to follow, ably fielded by the panel.

It's only at the very end that the discussion threatens to explore the subject in more depth. The last questioner in particular raises an issue which anyone who's worked in theatre abroad will be aware of, the pros and cons of the subsidised system, and by implication the increased motivation required to work in a non-subsidised theatrical culture (ie most of Latin America, Asia, Africa etc). The question is rebuffed with the bland assertion that "there are no cons to a subsidised system" and there's no time to proceed further.

By this point, in part through Michael Wynne's engaging story of the Elephant and the Bus Engine play, which perhaps raises more questions about the scheme than it answers, the other side of the Court's agenda has emerged more strongly: the desire to find a play which will resonate with the Court's audience. Whilst this is of course a reasonable objective, what was never really touched on was the way in which the writers themselves (as I know from personal experience) are aware of this agenda and cannot help but be influenced by it in the engagement with the Court. (With the subsequent risk of what might be termed a beauty pageant.)

Throughout the talk there seemed very little disposition on the part of the speakers to place themselves in the shoes of the writers who participate in the Court's international schemes. Perhaps its because it's very hard to do this within the context of a passing visit which, as Wynne suggested, is also likely to be a formative event for the writer. The Court's International playwrighting scheme is a laudable endeavour which undoubtedly benefits writers across the globe. But like any scheme, it will have both its pros and its cons, and it seemed a pity that given the opportunity to engage in a public debate, there was so little impetus to explore both pros and cons within a wider, global, context. More time for questions would have helped as it seemed as though there were many theatre practitioners from around the world whose opinions we didn't get sufficient opportunity to hear.

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10.2.11

west london tales 12 - egypt

Playing on my laptop, beside this screen, a woman with a blue scarf talks from Tahrir Square. The noise from the square slips down cables, slides through oceans, emerges through speakers, sings in my sitting room. Everything connects?

I took the lift this morning and saw my downstairs neighbours for the first time since I got back. More often than not the reason we talk to one another is because there's been a leak from my flat downstairs to theirs. (Generally arising from the Ethiopian couple who live upstairs.) In spite of this, I get on OK with my downstairs neighbours, an old man and his middle-aged daughter. But today, in the lift, they were distracted and made little attempt to communicate. The daughter was on the phone, talking in Arabic and her father, a hunched man with big specs who's always in slippers, looked concerned, trying to work out what the person on the other side of the phone line was saying.

Then I remembered. They are Egyptian Copts. They had bigger things on their mind.

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5.3.10

feel the quality

We inhabit a conviction society. The more you convince yourself and others of your worth/ the worth of your idea/ the worth of your conviction, the more successful your integration within this society.

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8.10.08

on economics, love, war, etc

Crises are subject to the rules of drama, rather than the rules of logic.

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Which is another way of saying: Drama contains its own logic. Whose connection to the logic of physics or mathematics is tenuous, at best. And, in the world of humans, infinitely more powerful.

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31.5.08

nature, nurture, and chinese meat-eating habits

A localised sense of decline can affect every corner of it's people's psyche. Likewise a sense of optimism.

This has been one of the reasons the USA has been, and has been seen to be, so successful in my lifetime. And might turn out to be the most significant ramification of the events of September 2001.

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27.3.08

betrayal

Betrayal is both an absolute and a relative art form.

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It can take many forms. Some less obvious than others. Sometimes the most obvious betrayals are the most minimal. And the worst betrayals are never even noticed.

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For betrayal does not take place in the outside world. In the boardrooms, bedrooms or corridors of power.

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Betrayal always takes place in the heart.

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23.3.08

bucket and spade

Almost inevitably those who feel themselves to have the least control over their lives are liable to be the biggest control freaks.

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16.11.07

social engineering

The teacher sells himself as cynically as any charlatan.

Both have similar things to pedal:

Ointments for the betterment of the soul; Techniques for self-improvement; Learning of the ages.

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20.9.07

the blue society

A depressed person can help no-one save themselves.

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Making depression and selfishness unhappy bedfellows.

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Depression represents the asocial apex of a society.

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Capitalism feeds off dissatisfaction.

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If you have everything you need you won't need to purchase anything else.

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The greater your dissatisfaction the closer you come to depression.

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The mechanics of capitalism thrive on an underlying drift to depression.

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12.9.07

standards of living

Our society, no matter how rich in comfort, is little more than a pauper in time.

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22.8.07

wealth of a nation

Avarice is like a lode star which shines above our culture.

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It informs the way we eat, think, write, dream, love.

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It does its best to inform the way we make love; but it is not as successful in this as it seeks to be.

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It functions like advertising (its sancho panza). It operates in the breaks between programs. Opens and fills and empties the cracks that spiderweb our walls.

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Avarice has no scruples. It drops bombs, eats babies, fucks nuns and toys with hearts. All for the sake of something extra which is not required.

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