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Germany

SS LUSITANIA ON HER SEA TRIALS 1907

David Selzer By David Selzer2 Comments1 min read1.7K views

An amateur photographer was lucky

enough, or sufficiently patient,

to catch the Clydebank-made Lusitania

from a sheep-cropped Anglesey headland

– with her four funnels, six decks for passengers,

the hidden glistening luxury

of a grand hotel – on her sea trials

in the Irish Sea. The transatlantic route

was a lucrative race between the British

and the Germans – part of the long proxy war

before the War itself. The Admiralty

subsidised Cunard to build the steamer.

 

Eight years later, a U-boat sank her,

eleven miles off the Kinsale Lighthouse

in County Cork. All fifteen hundred perished.

There was justification, and outrage.

The USA entered the Great War.

Though a salvageable wreck, she is deemed

dangerous. The hold contains munitions.

 

The postcard size print is out of focus

and the day is misty, but the four funnels

are unmistakable.

 

 

A GOOSE IN THE BAMBOO

David Selzer By David Selzer5 Comments2 min read1.5K views

Catching a charter flight from Manchester,

the family eases through security

but I am detained – there are traces

of explosive in my backpack: poems

on the hard drive? The scanner is at fault.

 

At Nikos Kazantzakis Heraklion –

the only airport named for a writer –

one of our cases arrives broken

on the single baggage carousel

and one of the gent’s toilets has backed up

but ‘Zorba’s Dance’ is playing somewhere,

the sea beyond the runways could be almost

‘wine-dark’ and the oven heat warms old bones.

 

Our hotel room overlooks a valley

charmed by Cretan sun in early June, washed

in El Greco shades and citrus colours,

with the usual eclectic small holdings

among the scrub – olives, vines, tomatoes

and bananas; hens and cock scratching;

three nanny goats clanking; two black dogs caged;

a stand of bamboo. On our balcony

with our granddaughter we play ‘I spy’

– but we cannot see the goose that honks

periodically in the bamboo

and sets the watch dogs barking.

 

There are activities throughout the day

round the pool for children of all ages.

It is water polo time and chaps

from England, Poland, Germany play

boisterously but amicably.

The French study their screens, a quartet

of middle aged Israeli men is aloof,

two British Asian families remain

circumspect. We came last time in early May –

the Great Patriotic Holiday

enjoyed by affluent ethnic Russians.

Our granddaughter swims endlessly like a shrimp

in the cosmopolitan waters.

 

At Heraklion the security

is seasonal, part-timers attired

in G4S finery complete

with white lanyards so there is role play –

queues are long and scrutiny relaxed.

At Manchester, in the EU passport queue

we shuffle along, without music,

with passengers from Islamabad

to the ID scanner – and chuckle,

thinking of all the closet racists

who would swallow their tongues in such a queue.

At the scanner, a witty, local lass

in a hijab helps us. O brave new world

that has such! ARRIVALS is threatening

with armed police, loud with distant honking.

A car has been parked in the wrong place.

We have flown from attic comedy to low

farce, goosed in the process.

 

 

 

 

 

 

 

 

 

 

TRIUMPH OF THE WILL

‘Half winged-half imprisoned, this is man!’
PEDAGOGICAL SKETCHBOOKS, Paul Klee, 1925

 

Cruising from Westminster to Greenwich, we passed
Tate Modern, the old Bankside power station –
art as regeneration. The current show
was ‘Paul Klee – Making Visible’. “Making
a fool of himself, more like!” called the captain
over the tannoy. There was much laughter
and some applause. The 02 Arena
and the Thames Barrier came into view –
two works of abstract art as engineering.
In the Royal Hospital’s Painted Hall
are Thornhill’s baroque maritime murals –
representational art as décor
and establishment propaganda.

On the return trip, a different captain
made the same remark – to the same effect.
Klee and his peers had been many decades
dead and were, seemingly, still a threat –
despite the sponsor, EY – Ernst & Young –
trusted global accountants and auditors!

Klee catalogued his work precisely.
‘Making Visible’ followed his schema.
In the ‘20s room, I studied his ‘Wohin?’ –
‘Where to?’ – oil on paper, A4 more or less –
a stylised landscape of seven trees –
straight trunks, leaves and branches circular,
six deep green, paint richly daubed, the seventh
a discreet orange – and varicoloured,
irregular fields, no lanes, paths – the title
painted in as part of the picture.

I had seen the work before: exhibited
in Chicago’s Art Institute, built
as part of the 1893 World Fair –
architectural art as marketing.
The exhibition was a reprise –
a sort of victory roll – of the Nazi’s
‘Entarte Kunst’ – ‘Degenerate Art’,
mastered by Goebbels, opened by Hitler
in ’37 in Munich’s Chamber
of Visual Arts. In addition
to Klee’s, there were works by Chagall, Grosz,
Kandinsky, Kokoscha, Mondrian et al –
snatched from the public galleries of the Reich.
One might have expected the exhibition
to have been followed by the public
immolation of the works of art,
like the burning of books in ’33.
Some disappeared as Europe broke apart.
Many, like ‘Wohin?’, travelled safely
abroad. Money makes the art go round.

In ’33, vilified by the Nazis,
he left Germany and returned to Bern.
His was, as he put it, ‘a thinking eye’,
seeing truly the scope and the nature of things;
Picasso’s ‘master of colour’; versatile
in his use of materials; prolific.
In ’36, he was diagnosed
with scleroderma, an incurable
degenerative disease, that affects
motor skills. He died the month the Werhmacht
took Paris. He painted to the end.

 

 

 

HERRINGS

HERRINGS  is a very short stage play. There are three characters: H. Griffiths, M. Bogush and Voice Off. H. Griffiths speaks first:

I am H. Griffiths, the celebrated writer of novels of romantic, unrequited love. What you are about to see took place in the bridal suite of a 5 star hotel on Sunset Boulevard. It was during the afternoon of July 21st 1969 – the day mankind first walked on the moon.

You can download this stage play as a .pdf