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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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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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Satire: And the nominations are...

You'll have to keep coming back to this post as I add to it as impulse dictates. It is set to be one of those off-the-top-of-my-head lists generated over time.

I'm not going to be formal about my rulings and offer strict criteria for my judgments. Nor is the list formatted by structure.

It's just note taking of what issues forth.

With these provisos, here is the shifting list of preferred and favorite satires.


Dave Riley's Preferred and Favorite Satires (because I know what I like to like)

  • The Loved One (Evelyn Waugh) is to my mind so well realised as satire and dark comedy that you have to wallow and roll about in its darkly humorous depths.If the novel is not enough for you, Tony Richardson's  film of the work -- written by Evelyn Waugh (novel)  Terry Southern and Christopher Isherwood is a naughty piece of business enriched by some delighted comic performances -- especially Rod Steiger's Mr Joyboy.
  • Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb  takes satire to the horrors and laughs all the way. Stanley Kubricks' film is one off magic and its like has not been attained. Another writing input from Terry Southern ( with Kubrick) and the improvisational genius of Peter Sellers.
  • The South African novels of Tom Sharpe. While Sharpe may be better known for his Wilt and Blott series, he began his writing career with two novels pitched at South African Apartheid. Crude, rude, grotesque and bitter, Riotous Assembly (1971) and Indecent Exposure (1973) are like  Malotov cocktails thrown at the South African police establishment.
  • Lolita by  Vladimir Nabokov may be notorious for its pedophilic theme but the story also works (preferably for me) as a wonderful satire of suburban life. That rich telling is captured in Stanley Kubrick's 1962 film .
  • Pickwick Papers may be Charles Dicken's first novel but its sentimental charms carry  with them a wry satire of morals, manners and greed. The book is out of step with his other works with their intense grotesques and dramas but Pickwick suggests another Dickens was possible if the melodrama (and great melodrama that) had not ruled.
  • Bertolt Brecht's plays are usually thought to be parables for the theatre but my favoriting alights on his satires, especially Man Equals Man and The Resistible Rise of Arturo Ui . To this list you could add The Threepenny Opera but Brecht's most famous play unfairly overshadows the 1728 original by John Gay and all its satiric charms.
  • The original idea for The Beggar's Opera came from Jonathan Swift and John Gay's ballad opera is still a boisterous attack on the ready criminality of society and its self serving pollies.
  • Gulliver's Travels  is a sort of satirist's DIY manual. Each journey, each country, ups the anti for Swift's agenda. He wrote chapter and verse that still lasts centuries on.
  • The Good Soldier Švejk may be the best known literary output by a  member of the Bolshevik Party but the fun keeps on coming. Jaroslav Hašek managed to package a lot  in the one  story that bounces all over the place. Hardly a bitter storyline but if you go to war, it will be fools (and greedy fools at that) that will rule your life.
  • Lenny Bruce  deserves his reputation as America's pre-eminent stand up satirist. The recorded albums are useful resources if you want to access what he achieved, but since you may not get the guy's full measure, try reading the transcripts available in The Essential Lenny Bruce .
  • Kinflicks  has a cult following among a few generations -- like mine -- as it sends up the business of transiting the sixties gleaming with fun, verve and a sharp eye to gender politics. Lisa Alther's  book is a much more unsettling counter ruling to the often asinine chick lit that has followed.
  • How to Succeed in Business Without Really Trying is a fire cracker of song and dance that presents as musical comedy. But for all its wit, romantic storyline...the work takes aim at corporate  culture and undermines its self serving logic by burlesquing it. 
  • How I Won the War is a 1967 film by Richard Lester  which takes the original satirical novel by Patrick Ryan  and turns it into a very bitter anti war parable to confront the gung ho demands of the Vietnam slaughter. Since the book and the film diverge so much, it is worth partaking of both media. The film is a neglected gem.
  • Joe Orton's plays are fiendish black comedies which go a long way in turning social mores up side down.More farce than is decent without taking prisoners.Of the filmed versions the 1970 adaptation of Entertaining Mr Sloan is worth the look at. 
  • The Ruling Class may be known as a film with a wonderful performance by Peter O'Toole but the play  by Peter Barnes is much better. The rule of one class over we others  is brutally attacked  for its systematic brutality and inherent conservatism. A play superbly written. 
  • Early Morning  has been called a 'savage satirical dream play' and I guess that is an apt description. In Edward Bond's play Queen Victoria has a lesbian affair with Florence Nightingale, and the princes Arthur and George are locked together as conjoined twins. A final act set in heaven sees the characters consuming each other as they descend into cannibalism. Bond doesn't usually write satire as he is more tragic in mode. But Early Morning is special.
  •  Vladimir Mayakovsky is usually known as a  Futurist Soviet poet but his playwrighting suggests a  different engineering. Mystery Bouffe, a mock medieval mystery play written in 1918 to celebrate the first anniversary of the Revolution; The Bathhouse, a sharp attack on Soviet bureaucracy subtitled "a drama of circus and fireworks"; and The Bedbug, in which a worker with bourgeois pretensions is frozen and resurrected fifty years later, when the world has been transformed into a material paradise.
  • Marat/Sade has been called satire but I think the overwhelming theatrics obscures that underlying theme.  It is a satire about the French Revolution but at its heart is an eager political discourse and the playwright, Peter Weiss, deploys satirical means to relieve some of the intensity. But as satire it works very well indeed.
  • Myra Breckinridge is, for my money, Gore Vidal's most neglected work. There is always plenty to like about Vidal anyway -- but Myra sits alone as a superbly realised satire about sex and gender politics  --  perhaps like no other work  Myra breaks all the sex and gender rules.
  • As puppet plays go Ubu Roi  is a crude, rude burlesque that takes on power and greed  with such abandon that despite the century since its premier, it's hard to note its like. Alfred Jarry may have written it but the play almost stands alone as a statement that helps to define a whole movement that arises every now and then as rambunctious satire.
  • The New Adventures of Jesus is as underground as you can comix get . In fact it is reputed to be the first underground comic. I think Frank Stack (who drew Jesus) is neglected -- but in saying that I don't want to detract from the contemporaries: The Fabulous Fury Freak Brothers  and Wonder Wart-Hog. But for me, Jesus rules because its sharper and less indulgent. Highlights include jesus going for a swim with the apostles (he bounces off the water); raising lazarus from dead by first turning him into a loaf of bread; the hollywood version of the crucifixion with a buff jesus beating up the romans with the cross and getting the girl...
  • America Hurrah is a lot of things: three plays coming at you from very different performance modes.Absurd theatre; grotesquery; satire; angst and audience abuse...  Jean-Claude van Itallie’s trilogy of short plays is such a tinder box of stuff that they can be exhausting to experience (you should be so lucky!)
  • Thomas Love Peacock is long dead. A friend of Shelly, the Romantic poet, Peacock's mockery of his peers may be an arcane taste and his novels overly dramatic but I love them for their seeming simple form. That only serves to make the setups easier to engineer.
  • Dario Fo  may have been awarded the Nobel Prize for Literature but let not such acceptance detract from the strengths nor the political alignment of  of his many satirical plays. Accidental Death of an Anarchist (1970) may be well known outside Italy but my favorite is Mistero Buffo --  ("Comic Mystery"), a play of monologues based on a mix of medieval plays and topical issues.
  • Kurt Vonnegut -- no matter where you start reading I don't think there is anyone like Vonnegut. In his penchant to pursue his POV he kept remaking it in a succession of unique novels. 
  • Doonesbury  may seem all  a bit insular and de rigeur today but Garry Trudeau's comic strip had an earlier life that was cutting edge naturalistic satire and totally addictive panel by panel.
  • The Great Dictator (1940) by Charlie Chaplin is stand out among his films as a partisan take on the then conjuncture of world politics.  Modern Times' take on  our collective  industrial sentence is similarly astute and both films are sharp satires,quite consciously created with that perspective in mind, of the capitalist system.
  • Carl Hiaasen's novels may be a tad kinder than you'd expect from his subject matter. -- relentless  corruption and development spin in contemporary Florida. His is creative fiction for investigative reporters and if you are like me, you'd want him to publish more often. 
  • James Gillray is for me the epitome of satiric caricature. There's not a subtle line in any of his work.(Sample above). Caricature  and satire is a perfect marriage and Gillray is a master of the fusion. That he comes from the 18th century suggests his  provenance. (I'd like a Gillray print for Christmas).
  • Norman Lindsay's politics are a long way from my own but as a caricaturist and cartoonist you won't find a better draftsman who re-moulded the human form with a enough situational perversity to lampoon politician and common folk alike. 
  • To Be Or Not To Be --  the Ernst Lubitsch film with Jack Benny in the lead role -- is a near perfect comic gem that Mel Brook's couldn't improve on 40 years later. I like both versions but with either you have to defer to the superb plotting and relentless farce that belittles the arrogance of  Fascism at a time (in 1942)  when it looked like things were crook.
  • Blackadder Goes Forth may be the last of the Blackadder series  but it is the most successfully realized of the four. Some episodes in earlier series are funnier, but with Goes Forth, the perspective is clearer and -- unfortunately by the finale -- relentless; and Edmund Blackadder, despite his scheming,  had to 'go over the top'. 
  • There aren't many laughs to be had from Nathaniel West but his four very short novels are brutal satires of America. They are a strange mix perhaps -- especially The Dream Life of Balso Snell (1931)  -- with a ready nihilism, and a strong Apocalyptic vision that would fit in very well today. A Cool Million is his sharpest satire. 
  •  Honoré Daumier (February 26, 1808 – February 10, 1879) was a French printmaker, caricaturist, painter, and sculptor, whose many works offer commentary on social and political life in France in the 19th century.It's hard not to like Daumier's simple lines and the subte mix of sharply offensive caricaturing on the one hand and sentimental engagement with other subjects on the other. His caricature sculptures are superb and better any plasticity that has been attempted since. 
  • Mike Judge. Who you say? Whose Mike Judge? Judge is the brains be hind King of the Hill and if you cant relate to the propane universe of Hank Hill you don't know suburbia up close and personal.
  • The Weimar Satirists:While it may be de rigeur to talk about the sixties 'satire explosion' for my money a much better period for 20th century satire was the Weimar Republic's cabaret scene and print media. Among the writers who drove the exciting satirical culture of the period were  Kurt Tucholsky (1890–1935)  and Karl Kraus (1874–1936). For me Tucholsky is  major influence. 'Tis a pity he wrote in  GErman and is so little translated in ready access. Some of Tucholsky's satires in translation.
  • Brian O'Nolan (1911–1966) (Pen Name: Flann O'Brien) is also known as Myles na gCopaleen. His novels are satires about Irishry but his newspaper columns --  Cruiskeen Lawn -- are staggeringly inventive. He has to be my favorite satirist.
  • Chris Lilley is some one many Australians know because of Summer Heights High and other series on local television.Lilly takes up where Barry Humphrey's left off I think as they both caricature Australians by replicating them as identities. Humphreys characters always had a bitter edge, but Lilley is more celebratory, more indulgent...of us.
  • The Larry Sanders Show may not be on everyone's list (as they may not have seen it) but Garry Sandling's take on network television is relentless stuff.
  • Mr Fish. There may be many Fishes on the planet in any number of guises but for my money, Mister Fish is the most brutal of the lot. His cartoons are often devastatingly observant and cut through so much political crap.  Mr Fish cartoons. Theres' no one like him. Except...
  • Ron Cobb. Cobb may no longer be a political cartoonist but in the seventies he  drew the measure  of the times especially during his residency here in Australia. Ron Cobb Cartoons.
Since I've exhausted my brain's recall batteries I'll sign off. If you have suggestions as to further works that 'belong' please append them below ... so we can be online satire friendlies.

Of course I've left out stuff  that I'm sure you think belongs. But mine is a list of material that is important to me since I like what I like to like.

  • List of satirists and satires: Wikipedia offers a very useful list of satires and satirists from ancient to modern times. I doubt  that you find a better list from which to draw sustenance.
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The would be satirists need buckets of gall

As it happens I was mentally composing an introduction to a retrospective of satires I had written 'over the turn of the century' when I was referred to a piece in today's Australian Not easy to be jester in court gone mad.

In the article, historian and novelist Ross Fitzgerald laments that while "satirists exaggerate personal characteristics and situations in much the same way as caricaturists do," they do so in order ,"to get people thinking about the way we are and where we are heading.This is why writing satire is so difficult, and so necessary, never more so than now. Even so, any self-respecting satirist has his or her work cut out playing catch-up with the absurdities of real life."

Way back when I was writing these satires -- primarily theatre pieces and a weekly newspaper column BB (before blogging) --  my engagement was serious stuff. I ran a thing called The Satire Workshop and would now and then be called upon to rule on the contemporary state of satire.

I ruled in interview mode enough to be a  registered expert.

Without over writing this post instead of  composing my introduction ahead of time, I need to point out that there is no subject as old penny relentless as 'the death of satire'.

Despite its  imperative -- as Fitzgerald insists -- why should satire  die off every now and then so that it seemingly appears to be in a permanent state of funerary?

I think the answer is a strange but simple one: satire requires satirists.  With the construction of satire there is always a shortage of trades people.

It has to be a chosen career path. And once chosen, the artisan must willingly accept its vocational limitations.

Unless you are Michael Moore it won't make you rich. In fact the more savage your attack  the less likely you are of winning a wider audience.

That's the rub, you see. For satire "to get people thinking about the way we are and where we are heading" requires frank honesty about where we are at.  No punches pulled.

Often to do that requires the would-be satirist to step outside the accepted bounds of regular humour-making into a world of such mordancy and bitterness that  you are going to make your audience very uncomfortable.

My objection to much satire that is written or performed is  that it loses its political nerve precisely when that challenge is  approached. It deflects, and drops its sights to target an easier quarry: an individual rather than  'the way we are' or 'language' rather than the consequences of what is being said.

In a sense, this penchant to diversion panders to a ready obsession with the Absurd. Instead of 'satire' you'll get an exploration of madness but a disjointed madness that loses conscious satirical interest. Madness that has no political meaning: it just is. This is why I think so much of what we accept as satire masquerades as parody.

I may say that satire requires satirists but the complication is that there is no international fellowship which has peer reviewed membership.  To "get people thinking about the way we are " is going to require a bit more than a few political jokes in front of a pub crowd.

That begs the question of whose satire is better than most's?

If you do your homework you can have a fun time: Lenny Bruce, George Carlin, etc in classic mode  will raise the bar; but for me, the master of 20th century satire (and there was a 18th Century vogue of course) is the German (Austrian actually)  Karl Krauss -- some one you have probably never heard of.

Like Jonathan Swift, Krauss (portrait above by Oskar Kokoschka) is a total satirical package.

Without having to reference the rather limited samplings of Krauss in translation, my respect for his work rests on his courage never to drop the ball -- to chase a political contradiction all the way way home.
A Krauss Sampler
I and my public understand each other very well: it does not hear what I say, and I don't say what it wants to hear.
When someone behaves like a beast, he says: 'After all, one is only human.' But when he is treated like a beast, he says, 'After all, one is human.'
The real truths are those that can be invented.
You don't even live once.
The world has become uglier since it began to look into a mirror every day; so let us settle for the mirror image and do without an inspection of the original.
How is the world ruled and how do wars start? Diplomats tell lies to journalists and then believe what they read.
Sentimental irony is a dog that bays at the moon while pissing on graves.
A child learns to discard his ideals, whereas a grown-up never wears out his short pants.
That's what I aspire to in my fashion as after blogging ab hoc these last few years I'm moving back into satirical mode.

Thus the introduction to the retrospective collection -- an exercise designed to give me confidence. .. and gall (as the would be satirist needs buckets of gall).

After thought: Since I have gone on about a favorite topic maybe I should offer some in situ suggestions? Maybe I should post a list of works by the selected few which I think make for good great political satire -- my favs? Why not? So soon enough I will post here an annotated list from atop-of-my-head stuff that I like and respect such that you can imagine me before them laid out in a state of  groveling   obsequiousness.

And since I always want more...if you have a preference  for some one or some work, please share it with me so I can partake of it too.


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Community Voice gears up for elections in two weeks

The Wollongong council election campaign is in its final two weeks now, and the Community Voice campaign is ramping up.


The CV campaign  has letter boxed nearly 60,000 houses across the three local wards, and candidates have  addressed numerous meet-the-candidates forums, while receiving sustained media coverage, with campaigning on the streets with stalls, door-knocking and more!

If you are in NSW and want to experience campaigning at the grass roots, help CV out for the last two weeks, and email Tim Dobson to volunteer.

The weekend edition of the Illawarra Mercury featured a half page photo of the CV meeting to decide  its preferences. 

Click here for TV coverage of CV launch of CV's youth unemployment policy.

The campaign to stop coal seam gas mining continues to gain strength too, and it's having an impact on the election campaign.

Stop CSG Illawarra's 200-strong meeting on Sunday is pictured above left.


Nearly every candidate (excluding Labor and Liberal) has pledged to back Stop CSG's demands if elected.
Check out WIN TV newsABC TV news and Illawarra Mercury coverage, all of which feature Jess Moore!


Click here for CV latest media release on the BlueScope sackings.

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The Riot Gene

Everyone knows -- or I hope they know -- that a penchant to  riot is  suggestive of an underlying pathology.

Rioting -- by which I mean full-on vigorous  civil disorder  by disorganized rabble lashing out in a sudden and intense rash of violence against authority, property and other persons -- is not an every day occurrence.

Leastways it isn't in my family.

I can safely say that within my pedigree we have gone several  generations without some family black sheep (and I grant you that we have had our share of those) taking up rock throwing  as a lifestyle.

We write letters. We vote in elections. We take home our pay and make the best of it. 

We grin and bear what life throws at us.

We do not riot.

Maybe we get a little testy now and then -- and think we've been hard done by. Who doesn't? But in my family, one and all share an ingrained respect for authority and the goods and chattels of others.

The seeming ready ease with which those of darker skin complexion or shallower income  become obstreperous,  suggests to me that they must have something volatile within them, something that may cause  hot blood and  obstropolousness (as the Greeks say).

All I can say is that we do not carry that gene.

We're accepting of our lot.
...unfortunately.



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