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HISTORY LESSON

Gaza, according to the Old Testament,

was, directly or indirectly,

frequently in receipt of God’s wrath,

most spectacularly when the Jewish giant,

Samson – who had been there whoring – was blinded

by its unsavoury residents, and bound

to the pillars of their heathen temple.

He brought it down around their ears, and his.

Millennia later, John Milton wrote:

‘Gaza still stands, but all its Sons are fall’n’.

 

***

 

Once, when we were learning about some outrage

or other, our history teacher observed

that there were two types of human being:

those we could imagine invading our homes

in the dead of the night, assembling us

in the street, and harrying us onto the trains

for Auschwitz – and those we couldn’t. Though perhaps

some of my peers wondered who they might be

it never occurred to me I would not be

one who felt for the oppressed: for the Jews,

of course, the Irish, Roma, Kurds,

Palestinians – all the migrant

and indigenous peoples of the earth,

defiled, displaced, diminished, denied.

 

***

 

The history of humankind seems to be one

of small tribes continually warring over

small plots of land that might produce

the odd pitcher of milk and honey.

And, it seems, in any particular place

or time, the tribe that gets to write the book gets

to invent the past or tell the truth, gets to

destroy the present or make it, gets to

determine the future.

 

 

ANGELS AND VANDALS

Everywhere in central Rome is sentient:

the Coliseum; St Peter’s Square;

the Spanish Steps; Castel Sant’ Angelo –

a towering, cylindrical building,

originally the Emperor Hadrian’s

mausoleum then a bolt hole for besieged

popes and, finally, for centuries,

a prison, and place of execution,

before becoming a museum.

 

We are approaching the castle this New Year’s Day

across the Ponte Sant Angelo, with its

ten sculptured, twice life-size, Baroque angels.

Beneath the Angel With The Crown Of Thorns

are three Roma children, a boy and two girls,

the latter dressed in long multi-coloured skirts,

their hair hidden by tightly wrapped scarves.

While the older girl begs,  the other two

are lighting some kindling they have brought.

 

The Castel Sant Angelo is the setting

for the final act of Puccini’s ‘Tosca’.

While Napoleon’s army is advancing –

so Rome will be sacked yet again –

Tosca, a famous soprano, stabs

the lecherous Scarpia, Chief of Police.

She thinks she has tricked him into saving

her lover – but the bullets the firing squad

discharges in the prison yard are real

and Cavaradossi, a painter, dies.

In her grief she sings, ‘O Scarpia,

avanti a dio!’, then runs up the steps

to the parapet – where we are standing –

and throws herself over the ramparts.

We can see the snow on the Apennines,

the Tiber flowing fast and olive below,

and, on the bridge, two armed policemen chasing

the children, whose small bonfire is blazing now.

 

 

‘THE CARIBBEAN EXPERIENCE’

David Selzer By David Selzer4 Comments1 min read640 views

Our present government, unfairly perhaps,

is often caricatured as self-serving,

racist and incompetent – and yet,

with a rather modest investment

of taxpayers’ money, has published

a report which may revolutionise

our study of history, showing

not just the costs but the benefits

to victims of great crimes: ‘There is a new

story about the Caribbean

experience which speaks to the slave period

not only being about profit

and suffering but how culturally

African people transformed themselves

into a re-modelled African/Britain.’

 

After ‘THE CARIBBEAN EXPERIENCE’

an ambitious revisionist might write of

‘THE BRAZILIAN EXPERIENCE’ – where

half of the ten million were enslaved – then

‘THE REWARDS OF THE U.S. PENAL SYSTEM’,

and ‘APARTHEID: THE BLACK DIVIDEND’.

Next might come three or four new volumes

commissioned under the generic title

‘THE BENEFITS OF GENOCIDE’: as witnessed

in Australasia, the Americas;

by the Armenians; the Uyghurs;

the Roma and the Jews.

 

 

 

 

ACCADEMIA BRIDGE

Although elsewhere they must compete with tall men

from Senegal selling faux Gucchi bags

and middle aged Roma women hunched like

supplicants as they beg with their cardboard cups,

short, slight Bangladeshi men of all ages

have cornered the market, on the always

crowded bridge, with selfie sticks, lovers’ locks

that illegally litter the rails, and a cache

of small umbrellas for wet, cruising tourists.

 

South is the church of La Salute with its

whorls, bell towers, domes – a votive offering

for the city’s surviving pestilence.

North is Ca’ Rezzonico where Browning wrote

In A Gondola – ‘The moth’s kiss, first!…

The bee’s kiss, now!’ A young couple stands

at the top where the locks are bunched tightest.

She has finger puppets – two mice, hers and his,

enjoying the view. He smiles lovingly.

She turns them to face each other – and speaks.

‘How do I love thee? Let me count the ways.’

 

 

 

ALMS

On a strip of unfenced scrubland – adorned

with scattered wild roses white and pink –

between the main road and our apartment,

a Roma family had pitched a low tent

of sun-bleached canvas, beneath two stunted

umbrella pines, set up a cooking pot

and tied their horse to a tree with a long tether

so it could graze on whatever was there.

There were three of them: a middle aged couple,

and an old woman – the women in black,

the man as tall, lean and brown as the horse.

Each morning the two women, the younger

carrying a striped, faded folding chair,

would walk down the hill to the small town’s

supermarket, where the elder would sit

until siesta, hand outstretched, silent.

The couple would make favours to sell

from chamomile, pimpernel, lavender.

 

One early evening as we watched ‘Who wants

to be a millionaire’ to improve

our limited knowledge of the language –

questions and answers being sub-titled –

we began to hear from somewhere outside,

despite the air con and the tv,

a voice in extremis. We pressed ‘Mute’,

turned off the a/c and opened the window.

We could see three seated figures illumined

by the cooking fire.  One of the women,

we guessed the younger, appeared to be

haranguing the other in a strident,

unceasing monotone. We saw no one

in the windows of the walled villas

on the opposite side of the road

and ‘Who wants…’ continued loudly throughout

the apartments. We had understood nothing.

 

Next morning, the routine was as usual:

the horse cropping, the favours, the begging.

None of their temporary neighbours

seemed to be concerned about whatever

farce or tragedy they had not observed

or curious in any way about

this threesome and their horse. Nobody

appeared to have been outraged. No one

was holding a placard demanding

whatever someone in our smug nation

would have demanded. Perhaps only those

for whom impoverishment

and tyranny have not yet become

abstractions can tolerate charity

among wild rose bushes.

 

 

 

THE LANE

David Selzer By David Selzer2 Comments1 min read486 views

The motorway cuts through it. It was always

a proper Cheshire country lane with

ditches and hedgerows of may and oak

but it remained an unpaved track subject

to the weathers. Travellers or Roma –

though ‘Gypsies’ or ‘Irish Tinkers’ we called them

then – with grass for their hirsute ponies,

their caravans obscured by the hedges

and their shy kids safe from the odd car,

would camp there. We would try to explore,

to find where it led, hoping for some mansion

occupied by GIs with their comics

and gum. But, each time we tried, one of the men,

the same one always – wiry, dark haired, sharp eyed –

would send us packing with a raised fist

and a curse. One summer, near dusk, we crept

as close as we dared. The man was seated,

on a stool, playing a guitar. Somewhere,

out of sight, a woman was singing.

 

We got a telling off, home after dark,

and my spinster aunt sang, unbidden,

‘I’m away wi’ the raggle taggle gypsy-o!’

 

I drive by what remains of the lane often

and always, out of the corner of my eye,

look – as if there were something to see

other than grass and weeds.