Does Writing Matter? #

The invention of writing began around the year 2300 BCE. Its primary function was to record commercial transactions using symbols stamped onto wet clay tablets. Eventually bored by the mechanical recording of trade, scribes began to experiment by recording the songs and ballads of the tribe. It is believed the first author is Enheduanna, the love priestess daughter of one of her father, King Sargon the Great, who had created an empire centered at the city of UR in the fertile crescent on the banks of the Tigris River. She enthusiastically expresses the joy of existence.

Sinuhe (1938–c. 1756 bce) who fled Egypt to settle in Syria. His story yields information about political and social conditions of the time.

The Epic of Gilgamesh is believed to have been stamped on mud tablets somewhere between 1600 - 1000 BCE.

Since then creative artists have experimented with many forms or genres to recreate life as they envisioned it. All art is the act of creating something from nothing; improving on a blank space. The aim is to make:

“Order out of chaos, clarity out of confusion, sense out of the senseless, inspiration out of nothing”.

John Olson claims:

“art is a revelation of the unknown” – the unknowable?

Art doesn’t answer any questions; rather as, Ezra Pound advised Yeats, it attempts to ask the right questions. Baudelaire had written that about thirty years earlier, but then so had Socrates - who insisted he knew nothing.

Good literature should stretch our minds.

Emily Dickinson advised,

“Tell all the Truth but tell it slant–/ Success in Circuit lies."

Henry James was the nonpareil of the hiatus:

“the whole of anything is never told,”

Polyphonic music consisting of many voices or sounds, each with an independent melody, but all harmonizing; contrapuntal (opposed to homophonic), can have some subliminal effect upon the listener, an almost hypnotic or haunting counterpart.

We can be caught or mesmerized by the spell woven by the lulling descriptions, the direct colloquial narrative, the lilting rhythms, regular ‘rimes’, rich tapestry of images, symbols and the searing feelings of the narrator.

Incantatory repetitions and use of onomatopoeia can have a hypnotic, haunting effect on us.

In a 2006, letter to kids in an English class at Xavier High School in New York Kurt Vonnegut gives advice to young writers:

“Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what’s inside you, to make your soul grow”. Start immediately, Vonnegut told them sternly — write a six-line poem about anything, but don’t show it to a soul. Once you have perfected it, tear it up into “teeny-weeny pieces” and distribute them across several bins. You’ll find you have already been rewarded, he said. “You have experienced becoming, learned a lot more about what’s inside you, and you have made your soul grow.”

Ambiguity of Art #

Art can get ideas into us before we have a chance of blocking them out. (Julian Burnside)

‘Nothing replaces the reader’s responses: the sound of poetry on both the outer and inner ear, the visions of fiction in the mind’s eye, the kinaesthetic assault of total theatre’ Handbook of Criticism – Guerin.

T.S. Eliot’s poetry appears self-conscious of it purpose, techniques and effects. It could be called meta-poetry.

Eliot trusts his readers to reach their own conclusions.

“The reader’s interpretation may be different from the author’s and be equally valid – it may even be better. There may be much more in a poem than the author is aware of. “

“Art to express the world as it is - its purpose to understand ourselves.”

> “to purify the dialect of the tribe”.

Emotions are sometimes too complex for simple rational language and the thoughts too deep for intellectual articulation. For this reason, Poets resort to metaphor, images, rhythm, style and myth.

Martin Heidegger expressed it as:

“To be a poet in a destitute time means: to attend, singing, to the trace of the fugitive gods. This is why the poet in the time of the world’s night utters the holy.”

Heidegger also claimed:

“The poets are in the vanguard of a changed conception of Being.”

Robert Frost claims we can never know anything for certain.

“My poems are set to trip the reader’s head most foremost into the boundless, into the dark and let them find their own way out.”

We dance round in a ring and suppose. But the secret sits in the middle and knows.

Art’s Influence #

Writers through the ages have spoken truth to power. Jacob Howland writes,

In an age of ideological conformity and technological brain-suck, the world needs more disobedient artists and thinkers.

Art has a greater permanence than most other mediums - even stone sepulchres. According to Juvenal, writing can be more durable than stone.

a name that might Cling to the stones that guard their ashes, those stones the barren Fig tree’s malicious strength is capable of shattering, since Even their very sepulchres are granted a limited span by fate.

Ovid assert the power of artists to survive anything that “Jove” can do to them, culminating in the epic’s (Metamorphoses) final word, vivam, “I shall live”:

I’ve made a masterpiece Jove’s wrath cannot
destroy, nor flame, nor steel, nor gnawing time. . . .
I will be read on people’s lips. My fame
will last across the centuries. If poets’
prophecies can hold any truth, I’ll live.

When Auden quotes Yeats’ “Poetry makes nothing happen”, he could have his tongue firmly planted in his cheek.

Art can make a difference. The poems of William Blake effectively reformed child labour laws, while Charles Dicken’s novels influenced authorities in the area of social conditions and justice.

In Australia, David Williamson’s The Removalists spawned a number of inquiries into police corruption.

Aldous Huxley, Brave New World, Arthur Koestler, the author of Darkness at Noon, and George Orwell, the author of Animal Farm and Nineteen Eighty-Four — all produced cautionary novels alerting us to the dangers of creeping authoritarianism.

The Fictional Man keeps tremendous ideas alive in a concrete form. In fiction you have the reconciliation of the absolute and the relative; the expression of the general in the particular. This is the exciting thing in both life and in art.

George Orwell (a student of Huxley’s at Eton) “Why I write” :

“My starting point”, “is always a feeling of partisanship, a sense of injustice … I write because there is some lie that I want to expose, some fact to which I want to draw attention.”

FDR’s New Deal forged a national culture, one enriched with new funds for the arts, theatre, music, and storytelling. With radio, more than with any other technology of communication, before or since, Americans gained a sense of their shared suffering, and shared ideals: they listened to one another’s voices.

This didn’t happen by accident. Writers and actors and directors and broadcasters made it happen. They dedicated themselves to using the medium to bring people together.

Personal or Persona: #

Genuine Art is a free expression of one’s soul. Any other ulterior motives create fake art.

Robert Ebert claims many artists have had to compromise their talent in a faustian pact to stay alive. . Florian Henckel von Donnersmarck’s new film “Never Look Away,” illustrates Gerhard Richter’s struggles with warring political ideologies. First it was the Nazis, with their rejection of modernism, and then it’s the Communists after the war, when Socialist Realism is the only style allowed in the art school. The Communists were as unforgiving as the Nazis in their attacks on artistic expression.

In a totalitarian society. Art is always in the crosshairs. Art must be controlled: what can and cannot be said, as well as how things must be said. Ideologues demand that art should be uplifting, art must carry the ‘correct’ message, art must abolish ambiguity. What on earth would happen if artists were free to make the art they want to make? What would happen if it were left up to the viewer to decide the meaning?

Greek Dramatists competed for prizes donated by Lysicrates, a wealthy patron of the arts. There is little evidence, Aeschylus, Sophocles and Euripides suffered under any strictures.

Augustus was insecure so under Maecenas, artists were rewarded to depict Roman history in a favourable light. Virgil’s Aeneas may be pure propaganda. Horace coped by writing subtle satire. Ovid suffered banishment. Livy was independently wealthy so wrote more honestly.

Chaucer accumulated enough assets to write feely after his career was over, yet still wrote satirically.

Elizabeth I was determined to promote pride in the Tudors and English History by funding traveling troupes of players throughout the country dramatising their past. Shakespeare’s early plays comply, but from 1596, we can detect him breaking away.

John Donne grew up a devout Catholic, fails to graduate to avoid swearing allegiance to a Protestant Queen Elizabeth, yet demonstrates his verbal skills in writing anti-Catholic tracts for many years. No wonder he claims: “I did best when I was least serious about my subjects”.

Donne wrote much of his poetry after hours for a trusted coterie of poets club with few of them published until years after he died.

Tennyson was dependent on government income and expected to write patriotic poetry.

Robert Lowell’s acknowledgement of his emotional and psychological fragility is his strength, not his weakness.

Lowell is often considered the doyen of what is called “Confessional Poetry” in the tradition of Gerard Manly Hopkins.

Critics claim that,

“all art is solipsistic; engaging with anything outside one’s mind cannot be done unless through the lens of the self”.

Celia Paul in Painting Myself, I want the self-portraits I make to convey a sort of security, to transform the reflected “she” in the mirror into the real “I.”

Modern poetry tries to be much more impersonal and aspires towards objectivity.

Eliot is renown for the phrase – objective correlatives. Personal issues must not only be universalized, they need to be masked – distanced. “To prepare a face to meet the faces that you meet”.

Poetry is not the turning loose of emotions, but an escape from emotion.
Not the expression of personality, but the escape of personality.
The progress of an artist is the continual extinction of personality. The more perfect the artist, the more separate the man who suffers and the man who creates.

Like Flaubert’s God, Eliot is everywhere present in his work but nowhere apparent. (Vijay Seshadri)

Eliot’s later works reveal a bit more of the personal.

To fully comprehend art, the astute reader must understand the personal and historical context of a work of art. To understand Shakespeare’s darker works, Macbeth, Lear, … it helps to know the reign of King James I.

Attempting to equate the voice of the persona in the poem with the poet is disparaged as “intentional fallacy”. Yet many critics assert that all art starts with individual experience.

Eliot had a number of disciples. Elizabeth Bishop was vigilant about giving nothing away in her poetry about her harrowing personal life, thoroughly disinviting private scrutiny. Admirers of Bishop’s early work—Marianne Moore, Robert Lowell, Randall Jarrell—praised its cool objectivity, its calm impersonality, what Moore described as its:

“rational considering quality” (hardly the usual praise for poetry), its “deferences and vigilances.”

Art as therapy #

While some art attempts to be detached from the writer, the whole of all artists engaging with anything outside of one’s own mind cannot be done unless through the lens of the self.

Writing is a way of conveying to our descendants how to live and love; how to overcome travail, failure, suffering, doubt to find joy, hope and purpose. Empathy is the ability to see things from the perspective of others.

Writers recognise the beauty in brokenness and find ways to repair the wounds of the past.

Writing is a relief/release. We all need narratives to understand the identity of others. The World is filled with impossible lives; Fiction reminds us they exist.

The inner truth of experience and authenticity of emotion are, cleansing to a defiled world. Both writers and readers can experience the therapy of catharsis or purification by engaging with the text.

Sandra Cisneros:

“If I didn’t have poetry, I would have to be on Xanax or Prozac. It’s my medicine.”

The idea of art for justice and demonstrate potential power for it to heal. Dean Walker, Ford Foundation

The inner truth of experience and authenticity of emotion are, cleansing to a defiled world.

Both writers and readers can experience the therapy of catharsis or purification by engaging with the text.

All the authors are prepared to devote any amount of time and intellectual industry, and to renounce almost everything, in the exhausting bid to wrestle the world into words, leaving us to revere the result and to inquire how much was entailed in the sacrifice. Anthony Lane

Writing is a relief/release. We all need narratives to understand the identity of others. The World is filled with impossible lives; Fiction reminds us they exist.

Patrick White wrote: “I can’t say why I do write except by saying that I seem to suffer from a disease that can be eased only by writng.”

Hopkins, Dickinson, and many other writers express deep manic or depressive feelings.

Eliot, Lowell, Plath were advised through, cognitive behavioral therapy, to redirect compulsive thoughts.

Eliot and Elizabeth Bishop attempt to do it with objective and impersonal detachment.

The nineteenth-century writer and abolitionist Lydia Maria Child was impressively prolific. “By her own admission she frequently suffered from a depression that writing seemed to alleviate.

Child of divorce? You’re into cryptocurrency now. Grew up in a stable, loving household? Sorry, but you’re never going to finish writing that novel.

All Art attempts to articulate pre-rational human awareness of the world around us, natural phenomena, our place in nature and our capacity for self-reflexion. It expresses our dark intuitions that cannot be articulated in the light of reason. Anthony Lane

Art as Empathy #

In 1759, Adam Smith, published a book entitled The Theory of Moral Sentiments. Theory was an inquiry into the origin of moral approbation and disapproval. How does it happen that man, who is a creature of self-interest, can form moral judgments in which self-interest seems to be held in abeyance or transmuted to a higher plane? Smith held that the answer lay in our ability to put ourselves in the position of a third person, an impartial observer, and in this way to form a sympathetic notion of the objective (as opposed to the selfish) merits of a case."

The Banaliy of Empathy

Narrative is an incredible vehicle for virtual experience—we think and feel with characters. It simulates empathy, so we believe it stimulates it. But if witnessing suffering firsthand doesn’t spark good deeds, why do we think art about suffering will? Namwali Serpell

Elena Ferrante #

To Elena Ferrante, true writing is a convulsive act, arguing against the media’s “demand for self-promotion”.

All literature, is the product of tradition: a sort of collective intelligence.

We wrongfully diminish this intelligence when we insist on there being a single protagonist behind every work of art.

We owe a complex debt to literature through reading. A restless critique of one’s reading and writing can add fuel to the fire.

Books arrive in Ferrante’s hands like a divine gift, offering just what she needs. Messages appear in chance readings, re-readings and re-evaluations of Emily Dickinson, Gertrude Stein, Virginia Woolf and others.

She learns that writing requires deep courage, that the small “I” of a woman might link herself to history, that women can tell their own and each other’s stories. In Dante, she sees Beatrice speak with wisdom and authority, and it spurs her on.

Louise Gluck #

I look for archetypal experience and assume that struggles and joys are not unique.

Poetry renders experiences of heartbreak and hope from new perspectives. It finds the world and the self wanting. The poetic voice is honed to speak to us from the grave.

Gluck viewed the sexual act as: the low humiliating premise of union or connection.

……

Art happens when someone wants to do it and needs to express an idea.

Advertising and propaganda start from given ends and work backward to means.

Writers driven by ceaseless curiosity can have the urge to share their newly found knowledge.

Genuine art attempts to depict the essence to establish the truth through the medium of fiction.

The writer needs to convince the reader to believe the narrative, even though both know that it is fiction. Margaret Atwood

Writers are mysteries to themselves, constantly trying to solve the mystery through invented characters and scenarios. Joanna Murray-Smith

“Writers know that talent is real, success is arbitrary, and that the relationship these two facts bear to each other is a mystery.” B. D. McClay

Genuine art attempts to depict the essence to establish the truth. Aristotle

Writers driven by ceaseless curiosity can have the urge to share their newly found knowledge.

“Writing is a duty to history,” Behrouz Boochani

“‘Creating’, wrote Albert Camus, ‘is living doubly’. He was thinking about Proust when he wrote those words – the Frenchman’s assiduous assembling of the living details of his world. The carpets, the flowers, the wallpaper patterns, the dresses, the table settings, the jewellery and walking sticks, the teacakes and bed blankets: the sheer clutter of stuff in space and time. His imagination was like some nightmare.”

Matthew Arnold claimed that “the study of literature gives you the best vantage point from which to understand an entire society”.

Marshall McLuhan stated that: “the chances of understanding the meaning of our involvement in the present is very small. It is generally the artists who see what they are living in the present and we are always one step ahead (of technology)”.

Heidigger acknowledged that:

“The poets are in the vanguard of a changed conception of Being.”

Aesthetic artefacts can generate insights. Stories, history, art are where we glimpse the meaning of it all.

Freud claimed all great art originated from a diseased mind, while Robert Frost admits that “being a poet is not a profession; it is a condition”. Though they attempt to hid behind masks, most poets express their deepest guilt, fears, insecurities, hopes, ecstasies or obsessions, all the while pretending to be creating art. Writing is being haunted by your own ghosts, only exorcised by expression.

Great literature can give us a clearer perspective of our own perceptions of life in all its complications. It helps us to see the big picture rather than our own narrow and limited experiences reveal; it helps us to transcend and globalise our concerns. It gives us a chance to learn from the giants of the past and can give us a cautionary warning about the direction our society is taking us.

Literature – all art - focusses a spotlight on an issue. It gives it a center within an aesthetic space, which is then manipulated to bring out the essence; what Hopkins calls “inscape”.

Other quotes from great writers: #

You can make anything by writing. C. S. Lewis

“The novelist’s job is to turn a slight, even a rumour, into a certain reality”. Julian Barnes

Writers are not here to conform. We are here to challenge. We’re not here to be comfortable—we’re here, really, to shake things up. That’s our job. Jeanette Winterson

In my writing, as much as I could, I tried to find the good, and praise it. Alex Haley

A well-written life is almost as rare as a well-spent one. Thomas Carlyle

There are three rules for writing a novel. Unfortunately, no one knows what they are. W. Somerset Maugham

Writing is nothing more than a guided dream. Jorge Luis Borges

Writing is the only thing that, when I do it, I don’t feel I should be doing something else. Gloria Steinem

Juvenal refers to “the itch for writing”, while Cerdiwen Dovey confesses to the guilty pleasure of writing.

Every writer I know has trouble writing. Joseph Heller

“I am not at all in a humour for writing; I must write on till I am.” — Jane Austen

A funny writer is a writer to whom the reader gives a great deal of power. Lauren Groff

To write something you have to risk making a fool of yourself. Anne Rice

I can shake off everything as I write; my sorrows disappear, my courage is reborn. Anne Frank

“But what is more to the point is my belief that the habit of writing thus for my own eye only is good practice. It loosens the ligaments…” —Virginia Woolf

If I waited for perfection, I would never write a word.

Truth and fiction #

Myths are beautiful lies that tell eternal truths.

Prince Harry has defended the Netflix series The Crown, saying that – while it was not “strictly accurate” – it portrayed the pressures of royal life.

Virginia Woolf said that “fiction is like a spider’s web” (A Room of One’s Own 2), a web that resonates every time it is touched. The spider’s web is an image of a complex, but coherent structure. Like many Modernists, Woolf tried to create a cohering pattern underneath the chaos of reality.

“There are some stories that have to be told by each generation”.

“I feel so intensely the delights of shutting oneself up in a little world of one’s own, with pictures and music and everything beautiful.”

“I want to write a novel about Silence," he said; “the things people don’t say.”

“Yes, I deserve a spring– I owe nobody nothing.”

“anyone who’s worth anything reads just what he likes, as the mood takes him, and with extravagant enthusiasm.”

………..

The poet’s skill lies in the summoning and semantic energies of words. Seamus Heaney

Art relies on nuances, suggestion - the multiples meanings of words and the inferences we all choose to draw.

Re-creating, imitating or reflecting reality is problematic. Reality exists in a liminal undefinable space often protected by a shell, masquerading as something else. Hopkins refers to attempting to pierce that façade to discover the essence; the impossible space behind the mask - Inscape. All art is an attempt to represent tangible objects in real time and space, striving to depict an invisible self. Successful art, like The Mona Lisa or The Lovesong of J. Alfred Prufrock, intrigues us by tantalising enigmatic mystique.

………..

Most common regrets of the dying: “I wish I’d had the courage of expressing my feelings”, or “I wish I’d spent more time with my family”.

Literature can enflame our determination to pursue justice. - Susan Sage

Esteemed by some philosophers as the highest virtue, the delivery of justice demands and rivets attention. And the opposite is true as well: the perceived miscarriage of justice commands attention, sparking outrage and condemnation.

Political #

‘A future of dust’

– Jeff Sparrow writng for The Conversation, December 6, 2024 on Gaza and why, in evil times, writers have a responsibility to take sides

Jeff Sparrow is a Senior Lecturer, Centre for Advancing Journalism, The University of Melbourne

We must ask for no references to Gaza/Palestine/Israel as it’s a very sensitive topic in our area. If these topics are included it drastically changes our risk management plans for events. Thus for safety and harmony we kindly ask the guest speakers avoid these topics and any questions about it that come up.

Sam Wallman and I received this message from our publicist, one day before an event at a suburban library about our coauthored book.

“Did they even read the damn thing?” Sam joked, as we strategised our response.

Twelve Rules for Strife discusses grassroots social change. It celebrates the creativity of the people historian Studs Terkel described as the world’s “etceteras”. It contrasts the power of collective solidarity with what we dub “smug politics”: a liberalism that treats the masses as irredeemably backward, and so requiring careful management by the clever few on whom progress supposedly depends.

We had been invited to discuss the political agency of ordinary people – and then told our audience couldn’t hear about the world’s most significant crisis.

But Gaza is all I think about.

In January, six-year-old Hind Rajab fled the fighting in Gaza City alongside her extended family. An Israeli tank targeted their car, killing almost everyone inside. Amid the wreckage and the blood, Hind’s 15-year-old cousin, Layan Hamadeh, phoned the Palestinian Red Crescent, crying and pleading for help.

“They are shooting at us,” she said. “The tank is right next to me.”

The dispatchers heard Layan scream as a machine gun again raked the vehicle. When they rang back, Hind, the only person now alive, answered.

“I’m so scared. Please come. Come take me. Please, will you come?”

She stayed on the phone for three hours, while the Red Crescent transmitted her location to the Israeli army and dispatched an ambulance – and then the line dropped out again.

Twelve days later, Hind’s surviving relatives found the wreckage of a van with two dead paramedics sprawled inside. Nearby, they located the car in which Layan, Hind and their family lay. An investigation by the US-based Forensic Architecture team established that 355 bullets had hit the vehicle. The researchers concluded that the shooters must have realised the vehicle contained civilians.

“They were small,” writes W.H. Auden in The Shield of Achilles,

And could not hope for help and no help came:
What their foes liked to do was done.

Safe spaces and moral seriousness

I mention Hind because our interaction with the library (“we are doing this for everyone at the moment”, its email said) echoed the decision by the State Library of Victoria to cancel workshops by pro-Palestinian authors Omar Sakr, Jinghua Qian, Ariel Slamet Ries and Alison Evans. Grotesquely, the library cited its fears for children.

Within the arts and elsewhere, sensitivity has been weaponised against Palestine. Sam and I were told we could not mention Gaza for “safety and harmony”, just as the State Library of Victoria explained that at a “time of heightened sensitivities” it needed to ensure “cultural safety”. When three actors wore keffiyehs for the curtain call of the Sydney Theatre Company’s performance of The Seagull, a subsequent letter accused them of using a “safe space, a theatre that is meant to bring communities together […] as a platform for a political stunt that sought only to divide and alienate”.

Ironically, Sam’s illustrations for the book we were invited to discuss draw on research I had done about the evolution of the “safe spaces” concept. The term emerged in the United States in the mid-1960s. It was first used by the gay and lesbian bars where patrons sheltered from homophobic police. Then it came to be used for the centres, shelters and bookshops in which the pioneers of women’s liberation organised.

The meaning of a “safe space” shifted during the mass movement against the Vietnam war. In 1972, the psychoanalyst Chaim Shatan wrote for the New York Times about attending a “rap session” with the activist group Vietnam Veterans Against the War. He coined the phrase “post-Vietnam syndrome” for psychic injuries inflicted on men “deceived, used and betrayed” by those who led them into a cruel and brutal conflict. The condition pertained not to combat per se, but the political context in which it took place.

Psychoanalyst Chaim Shatan coined the phrase ‘post-Vietnam syndrome’ for the psychic injuries suffered by soldiers. Image: U.S. Army helicopters during Operation Wahiawa, northeast of Cu Chi, South Vietnam, 1966.

When the anti-war movement declined, damaged veterans interpreted their suffering through less collective and more psychological narratives. In 1980, the American Psychiatric Association’s Diagnostic and Statistical Manual III included “post-traumatic stress disorder”, a condition stripped of the political specificity on which Shatan had insisted. The description related to any severe stressors, and so could be diagnosed away from the battlefield. The US Department of Veterans Affairs listed “natural disasters, serious accidents, assaults or abuse, or even sudden and major emotional losses” as possible causes.

PTSD entered popular consciousness through depictions of veterans traumatised by backfiring cars or other noises resembling gunfire. By analogy, feminist commenters on the early internet began posting warnings before discussing sexual abuse, eating disorders or other topics that might “trigger” involuntary responses. The practice spread through blogs and then social media, and made its way to US universities in the 2010s.

Most campus trigger warnings simply replicated the journalistic convention of providing audiences notice before the display of disturbing content. Nevertheless, lurid – and sometimes entirely false – stories about safe spaces provided ammunition for the never-ending culture war in which right-wing populists denounced universities for indulging politically-correct snowflakes. It was that backlash, more than anything else, that brought the terminology into widespread use.

For a small number of radicals, trigger warnings and safe spaces became, in the absence of a mass student movement, a mechanism for shielding the marginalised and oppressed. To that end, activists looked to policies enforced by sympathetic student unions or university administrations. The reliance on institutional support gave the strategy a distinctly bureaucratic character, with “safety” defined and imposed from the top by a tiny and often self-selected minority.

The meaning of “safe spaces” evolved, in other words, from an adjunct to mass struggles to a version of the “smug politics” our book polemicised against.

That was why the term provided convenient cover for the opponents of Palestinian solidarity: the historical association with campus activism eased the conscience of “progressive” administrators, even as their bans received applause from the conservatives who had mocked and belittled safe spaces in the 2010s.

Consider how the organisers of Western Australia’s major arts festival prepared for discussions of Palestine. Under the heading “Perth festival fosters a safe and inclusive environment”, they explained:

There is great concern and distress felt by members of our community in response to the suffering and tragic loss of innocent lives in the conflict between Israel and Hamas. Our hearts are with all those who are hurting or have lost loved ones or friends.

Perth Festival seeks to bring people from broad backgrounds and perspectives together to embrace our shared humanity and foster understanding and compassion through a diverse program of artistic experiences. We believe art has the power to unite people and bridge divisions. […]

We all have a collective responsibility to engage with each other – including our audiences, artists, staff and volunteers – in a mutual spirit of safety, inclusivity, respect, courtesy and tolerance.

Fine sentiments, in the abstract. Yet conciliation is a virtue only in particular circumstances. People squabbling over a cake might, respectfully and courteously, cut it into halves. They couldn’t do the same with a disputed kitten – at least, not without covering themselves in blood.

Francesca Albanese, United Nations Special Rapporteur, argues there are ‘reasonable grounds’ to say that genocide is occuring. Salvatore Di Nolfi/AAP

The International Court of Justice has declared “plausible” the allegations that Israel is committing acts of genocide in Gaza. United Nations Special Rapporteur Francesca Albanese says that there are “reasonable grounds to believe that the threshold indicating the commission of the crime of genocide […] has been met”. Israeli Holocaust scholar Raz Segal speaks of “a textbook case of genocide”.

The University Network for Human Rights, the International Human Rights Clinic at Boston University School of Law, the International Human Rights Clinic at Cornell Law School, the Centre for Human Rights at the University of Pretoria, and the Lowenstein Human Rights Project at Yale Law School have collaborated on a report that concludes Israel has:

committed genocidal acts of killing, causing serious harm to, and inflicting conditions of life calculated to bring about the physical destruction of Palestinians in Gaza, a protected group that forms a substantial part of the Palestinian people.

How much less does festival etiquette matter than credible, serious claims about the worst crime known to humanity? A paternalistic injunction to “bridge divisions” displays a jaw-dropping lack of moral seriousness, as if artists and audiences should find middle ground between those opposed to genocide and those supportive of it.

For or against?

To illustrate the perversity of the safety trope, consider the literary response to a different war.

In June 1936, Nancy Cunard, the poet, shipping heiress and bohemian, circulated a document to her extensive network of writerly contacts asking about their attitudes to the Spanish Civil War. At the time, most of the left supported the Spanish republic against General Franco. Many on the right – particularly, the Catholic right – backed the fascists, presenting Franco’s insurrection as a defensive war against communism.

Countries like Britain and Australia maintained a purported neutrality, though, as historian Paul Preston explains, “everything was done in legal and financial terms to facilitate arms procurement by the [fascist] rebels while obstacles were repeatedly put in the way of the Republic purchasing arms and equipment”.

Despite the controversy, Cunard did not urge the community of writers to come together and embrace a shared humanity. She sought, rather, to widen its divisions:

“now, as certainly never before,” she said, “we are determined or compelled, to take sides. The equivocal attitude, the Ivory Tower, the paradoxical, the ironic detachment, will no longer do.”

Rejecting the logic of the “safe space”, Cunard demanded writers adopt a position:

Are you for, or against, the legal government and the people of Republican Spain? Are you for or against Franco and Fascism? For it is impossible any longer to take no side.

The Left Review published the responses as a sixpenny pamphlet, Authors Take Sides on the Spanish War. It remains a remarkable document, with 148 statements from some of the 20th century’s greatest writers – Aldous Huxley, T.S. Eliot, Samuel Beckett, H.G. Wells, W.H. Auden, Ford Maddox Ford, Christina Stead, Arthur Koestler – alongside many figures now entirely forgotten. Cunard divided contributors into three categories: “For”, “Neutral?” and “Against”.

She justified her project by taking seriously the claims artists made for their work. If poets were, as she said, “the most sensitive instruments of a nation”, their very sensitivity demanded a response to the war. As Thomas Mann argued, the artist “ever occupies humanity’s furtherest outposts” – and as such could not “be allowed to shirk a decision”.

By comparison, today’s safety rhetoric reveals a cruelly diminished understanding of culture and its role. When submitting applications for funding, event organisers celebrate the supposed propensity of creatives to speak the unsayable. They don’t describe their programs as “safe”. They invoke Kafka’s call for an art experienced like “a fist hammering on our skulls” and scour thesauruses for words like “challenging”, “provocative”, “brave” and “transgressive”.

Over Gaza, however, curatorial courage melts away faster than Kafka’s frozen sea, as if artists can shock and provoke only when absolutely nothing is at stake. The insistence on “safety” demonstrates that arts administrators understand culture as an umbrella full of holes – perfectly fine until actually required.

Individual responsibility

In June 1937, the singer and actor Paul Robeson addressed a fundraising event for Spain in London’s Albert Hall. “Every artist, every scientist, every writer,” he said, “must decide now where he stands […] The artist must take sides. He must elect to fight for freedom or for slavery. I have made my choice. I had no alternative.”

Both Robeson and Cunard stressed individual responsibility in a moment of extreme moral crisis. But both also made a different, and apparently contradictory, claim. Invoking choice, they hinted at necessity (“I had no alternative”), implying that the war forced everyone, whether they liked it or not, to pick a side.

By then, the stakes were evident. A victory for Franco meant mass extermination: a program of reprisals Preston later called the “Spanish Holocaust”. It ensured the consolidation of fascism, not in a single country, but throughout Europe and the world. A global conflagration would follow, a crisis engulfing everything and everyone. Partisanship was inevitable because the catastrophe made every safe places deadly. We might say something similar today.

After the second world war, the victorious nations established various rules and structures designed to ensure that the horrors that began with Spain and culminated in Auschwitz never recurred. The norms and institutions so forged included the United Nations, the International Court of Justice, and the Geneva Conventions. All of them were flawed and partial, repeatedly used in the decades that followed to legitimate the powerful against the weak. Nevertheless, they at least symbolised an ideal of international relationships governed by something other than naked violence.

That model has now been shattered. The Gaza Strip – a territory only 41 kilometres long and less than 12 kilometres at its widest – houses nearly two million Palestinians, 47 percent of them children. Israel has dropped thousands of tonnes of explosives on that tiny area. The death toll is now more than 43,000. At least 31 of the 36 hospitals have been damaged or destroyed, with more than 800 health care workers slain. Over 130 journalists have been killed (only 69 died in the whole second world war), and 300 or more aid workers are dead. Human Rights Watch, Amnesty International and the United Nations report the systematic infliction of torture.

A father mourns his son, killed in an Israeli airstrike, Nasser Hospital, Khan Yunis, southern Gaza Strip, November 23, 2024. Haitham Imad/AAP As Amnesty International’s head Agnès Callamard argued, Gaza has revealed international law to be “frankly useless”. Israel has been accused of violating the Geneva Conventions – and been rewarded by Washington with US$17.9 billion in military assistance.

In an increasingly unstable geostrategic environment, marked by rising tensions between the US, China and Russia, all the historic mechanisms for governing and restraining conflict lie in ruins. “We are really as close to the abyss as we have ever been,” Callamard says – and the chasm extends beyond military conflict.

The international strategy for climate action depends, utterly and absolutely, on a liberal consensus now defunct. In theory, the 2015 Paris Agreement, by which nations agreed to limit emissions, mandates legally binding obligations. But given that Israel has simply ignored rulings by the International Court of Justice – and suffered no consequences as a result – who or what will compel recalcitrant leaders to fulfil climate pledges?

The willingness of Western nations to privilege strategic interests over the lives of Palestinian children raises obvious questions about what or whom might be sacrificed as the environmental emergency intensifies. The profits from fossil fuels – a staggering US$2.8 billion dollars every day for the last 50 years – provide a substantial incentive for the wealthy to continue with carbon business as usual. They know that rising temperatures disproportionately affect the poor and the brown – and Gaza has shown such people can be disposed of with impunity.

The time is short

In the 1930s, the Spanish writer Miguel Hernández warned:

A future of dust advances,
A fate advances
In which nothing will remain;
Nor stone on stone nor bone on bone.

So too today. The horrors of Gaza will resonate for decades to come.

Paradoxically, the very scale of the crisis makes worthwhile even the tiniest gesture of solidarity. When Sam and I said that we would not speak at a censored event, we received, almost immediately, an apology from the organisers. The directive, they explained, had not originated from the staff, but had been circulated without their knowledge by someone in management. We should ignore the ban, they said. We could discuss whatever we wanted. They really hoped we would speak.

We did, and I’m glad that we did.

It wasn’t a huge event: perhaps 30 or so people around a makeshift stage and a dodgy speaker system. The participants were, like most attendees at literary events today, old, even frail, determinedly rugged up against a cold winter night. But they raised Palestine before we said anything.

“I feel like I’m going mad,” a woman in her seventies told me:

Like there’s something wrong with me. All these dead children, and we’re supposed to think it’s all right, that it’s normal. But it’s not! It’s not!

She was almost crying. I doubt she cared very much about our book of cartoons about political organising. She came to a public event because she sought human connection, looking, in her anguish, for others who shared the sense of profound moral injury.

And there are lots of us. If any good can be salvaged from this evil time, it is the solidarity of ordinary people, the crowds assembling again and again and again at events at which noisy contingents of Jews and Palestinians stand side-by-side. Auden described how, in the struggle for Spain, “our moments of tenderness blossom”. So too in the movement for Gaza, which brings together a kaleidoscope of identities, ethnicities and genders: refugee families alongside delegations of lawyers, Queers for Palestine next to pious Christians, Indigenous leaders on almost every platform.

I have never experienced an Australian writers’ festival or cultural event that manifests anything comparable to the diversity of Palestinian solidarity, nor one in which the same youthful idealism dominates. A literary culture that, in the name of safety, guards itself against the world will, almost by definition, descend into sterility. By taking their place in the fight for Palestine, writers might, perhaps, play some role in reorienting a literature seemingly determined to pursue its own irrelevance.

But, really, that’s not what matters. Journalist Alex McKinnon has written about the experience of social media in a genocide, the cascading images of children burned and broken among their bombed-out homes, each clip or picture a unique obscenity, a pornography of violence that degrades us all by its existence.

You try and look away when you realise what you’re looking at but by then it’s too late, you put the phone down or turn it off or fling it away from you like a spider crawling on your hand but the image is already in your head along with all the other ones, filed away for when you’re in a Zoom meeting or meeting someone for coffee or rocking your daughter back to sleep in the middle of the night.

Many of us know what he means. Roland Barthes described photography in terms of the “punctum”: the accidental aspect of a particular scene that reaches out and pricks a viewer. I scroll, more or less unscathed, past a man flattened by an Israeli tank or a journalist sobbing as he learns his wife and children are dead, or a woman lying on a gurney with her brains leaking out and, for no obvious reason, it’s the cheap plastic necklace around the neck of a little dead girl that unexpectedly brings me completely undone.

“I don’t know if ‘radicalised’ is the right word,” McKinnon concludes, “but I’m a different person now than I was at the start of October. I’ve changed in a deep and fundamental way and I don’t see myself ever changing back.”

I don’t either.

In the 1930s, Auden expressed the nature of the obligation we now face:

The stars are dead. The animals will not look.
We are left alone with our day, and the time is short, and
History to the defeated
May say Alas but cannot help or pardon.

Writers – and everyone else – must take sides, irrespective of the sensitivities they offend. We have no choice. Gaza is not safe, and neither is the world that allows Gaza to happen.

This essay was shortlisted for the 2024 Melbourne Prize for Literature.