Super-Diatribalistic Mega-Magadocious

Fake mouth. Acrylic on cardboard.

(c) 2022 JMN — EthicalDative. All rights reserved

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Saint Brevity, Patron of Blagueurs

A god on the light post at my corner, November 2022.

“A wealth of information creates a poverty of attention.”

(Nobel Laureate Herbert Simon, 1971)

Like a bird on a pole,
Like a soul on the dole,
I have tried all my ways
To be brief.
(JMN, after Leonard Cohen)

(Harold Simon is quoted by Zeynep Tufekci, “What Would Plato Say About ChatGPT?” New York Times, 12-15-22)

(c) 2022 JMN — EthicalDative. All rights reserved

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Uh, You, Hey, I’m Talking Here!

Scribal gestures.’ayyuhā-n-nāsuO people! yā ’ayyuhā-l-malikuO king! ’ayyuhā-l-mar’aẗuO woman! ’ayyatuhā-l-mar’aẗuO woman! (again); yā ’ayyuhā-n-nafsuO spirit! yā ’ayyuhā-l-^iruO caravan! ’ayyuhā-l-laḏīna ‘āmanūO you who believe! (Examples from Wrights’ Grammar)

ḥarfu-n-nidā’ — “the particle of calling out,” (exclaiming, direct address). It establishes a “vocative dependency” with the noun that follows. That noun, according to certain rules, will have either a nominative or an accusative case ending.

I like to think of the vocative particle as a clamoring word: Listen up!

(c) 2022 JMN — EthicalDative. All rights reserved

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Trills and Spills from ‘Gilgamesh’s Snake’

Verses are from Ghareeb Iskander, Gilgamesh’s Snake and Other Poems, Bilingual Edition translated from the Arabic by John Glenday and Ghareeb Iskander, Syracuse University Press, 2016. Translations here are mine.

lā taqul jā’a man jā’a wa ḏahaba man ḏahaba — Don’t say this one came and that one went away.
lā takallam ^ani-l-bilādi-l-latī raḥalat — Don’t speak of the country that has departed.
lā takallam ^ani-l-wajdi — Don’t speak of strong emotion.
li-māḏa lā taqūlu-l-ḥaqīqaẗa —Why don’t you tell the truth?
mā huwa launu-l-mauti wa-mā huwa launu-l-ḥayāẗi — What is the color of death, and what is the color of life?
lā tu’arriẖ li-l-^adami — Don’t write history for the benefit of nothingness.

(c) 2022 JMN — EthicalDative. All rights reserved

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Poetry PowerPoint, Crossdressing Wolf

Cartoons can slay. Here are two that plaster a grin on my face for the connections they make. The first is from The New Yorker. The second is from Larson’s The Far Side Daily Dose website.

(1) I once had to fidget through countless corporate PowerPoint powwows; I sometimes quip snidely about the Master of Fine Arts degree; and I like poetry. So there’s this funny drawing with no caption:

(2) I happen to follow “Arabic with Sam” on YouTube. He’s a charismatic teacher from Cornwall (England) who does informative breakdowns of Arabic texts. The current one is “Layla wa-ḏ-Dib” (Layla and the Wolf), an Arabic version of “Little Red Riding Hood”: https://youtu.be/aC2gCtmzyLQ. What wicked fun to bump into this cartoon:

(c) 2022 JMN — EthicalDative. All rights reserved

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Can We Be Over ‘So’?

Eyewear Impact. Acrylic on cardboard.

I think I’ll forfeit my fortitude when the next person who’s asked a question starts his answer with “So.” It’s like answering queries with “Therefore….”

— Where are you from? — Therefore I was born in Poughkeepsie, but grew up outside Memphis.
— Do you have an MFA? — Therefore I studied for two years at Vanderbilt, but dropped out before I got a degree.
— Can you see the letters on the bottom row? — Therefore they’re too blurry for me to make out.

The ornamental “so” from hell may be entrenched in our discourse now, parroted by legions of the influenced. How do these tics get started? The Kardashians?

(c) 2022 JMN — EthicalDative. All rights reserved

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Gone, Not Forgotten

Greystoke, 20?? – 2022. Acrylic on cardboard.

Greystoke, old dear, we hardly knew ya and you’ve broke our hearts. Purr in peace.

(c) 2022 JMN — EthicalDative. All rights reserved

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A Dying Hero’s Own Thoughts and Prayers

[Photo New York Times]. Niall Carson / PA Images, via Getty.

Vicky Phelan died of cervical cancer last month at age 48 in County Limerick, Ireland. She had been an advocate for fellow victims of botched Pap smears. Her ringing demand for freedom from callous, corrupt leadership has universal application.

“I don’t want your apologies. I don’t want your tributes,” she wrote. “I don’t want your aide-de-camp at my funeral. I don’t want your accolades or your broken promises. I want action. I want change. I want accountability.”

(Vicky Phelan, from her open letter to Ireland’s leaders in 2020, after the death of Ruth Morrissey, age 39)

Irish health authorities argued over who should inform 200 cancer victims of “negative” smear tests followed by cervical cancers that should have been flagged as likely positive. They took two years to notify doctors, and many women weren’t told of the error that had delayed their diagnoses. Some 30 have died. The CEO of the Irish Cancer Society faults a “patriarchal” health system that can be particularly harmful to women.

Acrylic on cardboard.

Politicians have paid tribute to Ms. Phelan for helping expose the scandal, but a law proposed four years ago granting patients the right to be told about their own cases has yet to be passed.

(Ed O’Loughlin, “A Botched Cancer Test, a National Scandal, and an Irish Hero,” New York Times, 11-16-22)

(c) 2022 JMN — EthicalDative. All rights reserved

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‘We Were Limpid, So We Were Not Turbid’

ṣafaw-nā fa-lam nakdur wa-‘aẖlaṣa sirra-nā | ‘ināṯ(un) ‘aṭāba-t ḥamla-nā wa-fuḥūl(u)

A verse of classical Arabic can be tightly packed. Besides immersion in grammar, what’s most useful to this student of the language is a highly Congruent (1) translation. It amounts to what’s called a “trot,” and is the least likely kind of text to be published, which deprives the student of a valuable tool.

Making my own trots involves intensive bouncing between Hans Wehr (2) and Lane (3) as I mutter phrases from each verse aloud, lodging them ever more determinedly into my recall faculty. The great boon of Arabic’s conservatism is that vocabulary and structure encountered in a sixth-century poem are still current. The continuity is gobsmacking. For contrast in English culture, read Beowulf.

Arabic “roots” comprised of 3 (sometimes 4) consonants depart, theoretically, from a core meaning which can then be extended across a formidable drift of connotation and signification in the dictionaries. Settling on a choice of term for my poem-trots can be agonizing. I find myself hewing to core meanings, even when they yield weird resonance, as an expedient for cleaving the knot until context may dictate otherwise. What’s to remember is that a trot isn’t the destination, it’s a way-station on the journey to comprehension and retention.

The first poem in Arberry’s anthology (4) is by As-Samaw’al ibn ^Adiyā’, who flourished in the mid-sixth century. Here’s verse 12 transliterated:

ṣafaw-nā fa-lam nakdur wa-‘aẖlaṣa sirra-nā | ‘ināṯ(un) ‘aṭāba-t ḥamla-nā wa-fuḥūl(u)

Here’s my trot: “We were limpid [ṣafaw-nā], so we were not turbid [fa-lam nakdur], and made pure [wa-‘aẖlaṣa] (5) our excellence of lineage [sirra-nā] (6) | females [‘ināṯ(un)] (who) made good [‘aṭāba-t] our carrying [ḥamla-nā] and males [wa-fuḥūl(u)].”

Here’s a version with subject-verb order more conventionally aligned: “We were limpid (or “clear”), for we were not turbid (or “muddy”), and females and males (or “stallions”) who made good our carrying (or “fetus”) made pure our excellence of lineage (or “race”).” (“Made pure” and “made good,” while unwieldy, mirror the factitive quality of the form 4 Arabic verbs.)

Here’s Arberry’s translation: We have remained pure and unsullied, and females and stallions who bore us in goodly fame kept intact our stock.

Skilled and dashing, also Expansive, which isn’t always helpful to the learner. Steering closer to trot-level can lend an oddly apt, modernist swerve to translated verse which makes a roistering 19th-century tone fall musty on the ear. What comes clear is that As-Samau’al’s archaic boast wafts a whiff of the “pure blood” tribalism that roils human affairs now, as then.

For the record, I’m not sure my trot of this verse is on the money; I must take on board what I’ve gleaned, however, and move on to the next verse.

Notes
(1) My labels are Congruent (matches the source text fairly closely, with minimal liberties taken for readability); Omissive (suppresses elements of the source text without obvious justification); Expansive (adds interpretive structure or content not discernible in the source text but plausibly deriving from it); Inventive (carries the “expansive” element to a level not obviously supported by the source text); Transgressive (departs from the source text in a way that seems to betray the poem’s letter or spirit).
(2) Hans Wehr, A Dictionary of Modern Written Arabic, Edited by J Milton Cowan, Cornell University Press, 1966.
(3) Edward William Lane, An Arabic–English Lexicon, vols 6–8 ed. by Stanley Lane-Poole, 8 vols (London: Williams and Norgate, 1863–93).
(4) A.J. Arberry, Arabic Poetry: A Primer for Students, Cambridge University Press, 1965, pp. 30-32.
(5) Lane: ẖallaṣa: “He made, or rendered, it clear or pure. [This is the first meaning of form 2 in Lane. He equates the first meaning of form 4 to it.] ‘aẖlaṣa: You say ‘aẖlaṣa-s-samn(a), He clarified the cooked butter by throwing into it somewhat of the meal of parched barley or wheat (sawīq), or dates, or globules of gazelles’ dung: or he took the ‘ẖulāṣaẗ [the dregs-free part] of the cooked or clarified butter.”
(6) Lane: sarāraẗ(un): see sirr(un). “It signifies also (assumed tropical:) The best of the productive parts of a meadow. And hence, (assumed tropical:) Pureness, choiceness, or excellence, of anything: pureness, and excellence, of race, or lineage.

(c) 2022 JMN — EthicalDative. All rights reserved

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The Fellow’s Garrulous, But a Decent Painter

Topsy-turvy … Orangenesser (IX), 1981. Photograph: © Georg Baselitz 2022; photo: Friedrich Rosenstiel, Köln.

He talks about a narrow, closed view of the world in which a contempt for America – the home of “degenerate” jazz for the Nazis, the capitalist enemy for the GDR – was a constant. “Until I was about 20 years old I did not know there was something like culture in the United States. Based on the information I got from my father and the society around my parents, Americans were funny people. They had no culture and no art, only good weapons. Then I saw the New American Painting exhibition in 1958 from Pollock and his school, and it was like somebody beat me on the head with a big baseball bat. I suddenly learned that Americans did not only have the best weapons: they also had the best painters.”

Volkstanz, 1988–1989. Photograph: © Georg Baselitz 2022; photo: courtesy Anthony d’Offay Gallery.

(Jonathan Jones, “Like being beaten with a bat’: Georg Baselitz on eye-opening art — and his true feelings about female painters,” theguardian.com, 9-12-22)

(c) 2022 JMN — EthicalDative. All rights reserved

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