My monologue to an empty room in a small suburban house with a shortwave receiver in the house at the bottom of the garden was directed at a neanderthal, female dictator in England,namely Thatcher. I had seen the chaos and ruin and lack of basic rights which she ushered in in her sick failing society.
We say of female dominatrixes in Ireland rudely caolta is gaolta,women in any sort of public endeavour such as nursing, medicine,law and politics. Pathetic creatures,really,these women. (Their only weapon is moral blackmail, emotional pique, verbal abuse,aggressive catcalling and drama scenes in the scullery.)
That which was being hinted at in the 'world plan' of July-August 1988 (Der Spielplan, Dublin) in a series of oblique characterisations was,of course, anti-feminism. The running commentary was directed at the Irish 'petticoat brigade' of Sinn Fein and the Irish pub scene.
Those nuisances are akin to the idle women and blind guides who brought Italian fascism and Hitlerism to power.
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If you prefer a side-shot,a side-by-side comparison to my 'play',think in terms of a rhodomontade of English drama and Irish television skit.
The attempt at literary drama is much better discovered in the plays of Shakespeare, particularly Henry 5, Midsummer Nights Dream,Othello and Hamlet. The skit directed at O Riordain was borrowed from a cruel soap drama.
In the Spielplan of July-August 1988, from insufficient and only passable knowledge, I endeavoured to adapt for drunken assholes such as the Irish soldiers,Germans and American spies a message of Eastern political and economic change.
That change, fundamental and fargoing and thorough,was all in the future in that fateful year. The plan for the East erased any real hopes of lasting international peace and genuine freedom because it was a Western democratic narrative.
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The setting of the scene was created by those overpaid burger-flippers,public nuisances and their wives, namely the street-crawlers of the Irish Army. That scenesetting concerned the introduction of three Italian young women to my transitory acquaintance.
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My elocutory setting of the drama began as an evocation of Ancient Rome.
And the cast-off young Italian women sent in my direction? They were as"Three pennies in a fountain..."
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To return to where I started, Irish Army heroes-they're not good at anything else- were inspired by intimate acquaintance of these three women cast off by Argentinian army officers. They proceeded to dump them on myself. They three sought shelter in the summer of 1988. Seeing their plea on a noticeboard in Trinity Students Union,I brought the trio to 14 Fortfield Terrace, Upper Rathmines Road Dublin 6.
I too had sought sanctuary there.
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Why the 'drama'?
The Soviet Union whose great achievements I admired and knew a considerable amount concerning needed urgent outside assistance. It had reached a moral and political impasse due to the economic crisis under Kohl in Germany.
My gameplan was an agenda for change, first in the East,then in the West. I was instrumental in bringing 'the post-War international settlement' to an end in that fateful summer.
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A name for this monologue?
We can announce this distended 'speech from the dock' in many ways as Der Spielplan, "Is it me you're looking for?", "What is to Be Done-The Sequel", "Ochon, Ochon,Ochon" and as I gamely announced my plan to the Irish-American in the White House, "Round the floor and mind the dresser."
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An entree?
It ran, "The Boy stood on the Burning Bridge". That evocation was of the tale of Horatius in Ancient Rome when Rome was attacked by its neighbours,the Etruscans.
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Somewhere in my distended 'drama',there featured a rejoinder to a Prussian marching song. That double entendres was in truth directed at the Soviet Union at that time.
The Soviet Union was no less than a merciless and barbaric empire and a prison-house of nations on the lines of Austria Hungary. My song allusion was borrowed from the film documentary concerning genocide. It ran, "Wenn die Deutschen storen,Offnen Sie die Turen....".
I was trying to get others to see things from the perspective of cruelly-abused races and peoples bullied,cajoled and murdered by stronger powers such as Russia.
The song related to the persecution and the destruction of the Jews. It was inspired by one Srbnik who though shot in the head by retreating German soldiers at Treblinka/ Trebnice survived the war and went to Israel (Shoah,Claude Lansmann,1986,France).
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There was an untoward piece of self-parody, the plea directed at the semi-illusory O Riordain,"Mick,do you think I'm a good singer. Would you get me a job in the Peking Opera....maybe again,I could seek employment as a former world planner."
What was being averred to was my solid work record before I began to associate with the Belfast Provisionals,QUB teaching staff who hadn't mastered their subject and Irish Army malcontents. The latter were those siren country voices who wanted "factories for the South".
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The main thrust of the actions conceived of in this 'play'?
A plan for Germany Unity. The part devoted to German Unity was in recognisance of a German Social Democrat and IG Tiefbau-Vertreter,Georg Seidel of Deutsche Asphalt of my acquaintance (June 1979-March 1980). Other German country people were forced to leave their homes in former German territories. Seidel had been born in Silesia and forced to migrate west,first to the DDR,then the BRD. Finding a ready welcome on foreign soil from someone who was himself a migrant and longing for home is better rendered in the old Bundeswehr sang," Mein alter Schlesierland.."
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Many of the unconnected,incoherent, rambling and prosaic and cantorial caricatures in the tapped monologue were inspired by outline knowledge of Lenin's writings, German militarism's contemporary legacy and English popular songs. (German native themes are learned from old Hungarian melodies,travelling Gypsies and Italian songwriters).
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References to Haughey and Reagan
This drama was a satire and adlibbed commentary inspired by paddywhackery andthe ranting and raving of Reagan,back then.
The references to communists. O Riordain
A skit. A satire. Irish American FBI-types were spreading malicious rumours through those drunken bums about myself.My reply was innuendo.( I did however contribute some solitary articles before the old thug intervened. Those were titbits of 'news' [Irish Socialist, September 1988-February 1i989]).
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My true views?
As with my experience of the old Cork Communist, O Riordain,there was another censor.
I was one of many democrats censored by Kieran Allen on behalf of British Military Intelligence,the sponsors of all anarchist camarilla.( Read,for my unpublished writings glasnosteire.blogspot,com from April 1994 to August 2004).
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Why bring industrialization which was the outcome of the 'drama'?
The precedent for the South was Germany's post-War industrial and social model.
For the US benefactors,the down-payment being IRA activities between September 1988 and September 1991 in the North and the campaign of August 1990 to August 1998 England. For the English the activities which I had quite openly prepared on English soil had a happy outcome,eventual peace and a return to sanity for Irish Unifiers.
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"Bending the stick the other way" with apologies to Kieran Allen. A cantata from the drama ran thus,
..."Thousands are sailing,
"Across the Western Ocean,
"To a land of opportunity,
"That many of them,"
"Will live to see..."
A glancing blow at Northern Protestants ran along the lines of the Scottish soliloquoy,yet another cantorial failure,
"Will ye no' come back ag'in ....."
For Provo consumption and the people of Donegal resident in the Gorbals of Glasgow and their desire to return to Ireland.was the evocation in song of The Man from Milford Bay, John Kerr. That song ran,
"The land of my childhood,
" I see it again,
"No land ever claimed me,
"So far did I roam,
"For these are my mountains ,
"And I'm going home..."
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There was a precipitous warning to the British Army to be passed on by their main agents in the lickspittle Free State Army.
That warning still has some relevance.
It ran, it being a portent of things to come,
"...while Ireland holds these barracks-busters,Ireland unfree shall always be in bits,"
The 'interpolation' by the fictional O Riordain ran thus,"What in the name of f..., young fellow,is a 'barracks-buster'?
Giving gratuitous offence I continued, "Ah,that's nothing to be worried about,Mick, it's a new type of rocket we're going to build and fire at our English guests and their fellow travellers in terrorist gangs."
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The truth of the matter?
O Riordain's response to my plan of summer 1988 came in The Judgement on 23 December 1991 in the public house on the corner of Upper Clanbrassil Street and the South Circular Road, Dublin 6). His 'reply' preceded the "construction of the new Ireland" referred to in the drama of my authorship.
It ran,"I set him up with a nice young Jewish doctor."
My real views of Irish Communists, revolutionary socialists and other 'merchants of doom'?
O Riordain and his fellow travellers were people whose views,opinions and so-called "friends" and "agents" had to be "thrown up onto the scrapheap of history" (Der Spielplan July-August 1988).
Why,so?
Renewal in the East and change of a dramatic type back in 1983 to 1991 was long overdue.
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A Catholic overview of the matter...
A campaign of the Irish Catholic Church campaign of 1978 was Renewal and Youth.
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The British response came in the form of a hate campaign waged by Indian doctors and the Blair of the British Labour Party. Medicine and politics is full of the coarse Indian and English fools who make attrition their occupation and speciality.
Therefore,I say to imperialist revanchist in the West," You have sowed the whirlwind,you must reap the harvest of death!"
My medical incarceration by the NHS lasted for six years at a British Prime Minister's instigation.
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The background to Der Spielplan (July-August 1988)
The SAS 'bricklayer" of July-August 1986 acquaintance, Sch'm'uel, had it thus, singing to me an old Jewish lament,in reply to my well-known act,
"Mein alte jud'sche Mamma..."
As that astute soldier and bricklayer ,Bill Belloni had it,
"You've more front than Big Ben!" (8/1986). He had seen through my wayward verbal gambolling and idiosyncratic mental rambling.
My true 'reply' to that pair in July-August 1988 was aimed at gaining a monopoly of US investment in Europe for 25 years from delivery . That reply was very fatalistic. It ran,in the lyrics of Phil Coulter,
"What's done is done,
"And what's won is won,
"And what's lost is lost,
"And gone forever..."
The Unity dimension
Britain and America are about to disengage and to leave Protestants, idlers, drunks, layabouts,compromised people and their kept women, battalions of agents and "informal co-operators" behind when they depart.
Sequel to What is to Be Done-The Sequel? Why?
The British and Free State riposte to my 'drama' was the odious Good Friday Agreement. That agreement is long past its sell-by date.
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