Alexandra Leaving, Alexandria Lost

Suddenly the night has grown colder.
The God of love preparing to depart.
Alexandra hoisted on his shoulder,
They slip between the sentries of the heart.

… … …

Even though she sleeps upon your satin;
Even though she wakes you with a kiss.
Do not say the moment was imagined;
Do not stoop to strategies like this.

As someone long prepared for the occasion;
In full command of every plan you wrecked
Do not choose a coward’s explanation
That hides behind the cause and the effect.

And you who were bewildered by a meaning;
Whose code was broken, crucifix uncrossed
Say goodbye to alexandra leaving.
Then say goodbye to alexandra lost.

Say goodbye to alexandra leaving.
Then say goodbye to alexandra lost.

Today Financial Times publishes an article by Philippe Sands, “Leonard Cohen and Sharon Robinson: a special relationship”, that describes and explores the nature of the friendship between the poet/musician Leonard Cohen and the songwriter/vocalist Sharon Robinson. In it the process of creation of the song “Alexandra Leaving” is described. This song is based on a poem by Constantine Cavafy titled “The God Abandons Anthony”. Some excerpts:

“As we explore the lyrics of “Alexandra Leaving”, I ask whether she might sing the song. “Right here, in the bookshop?” Yes.”

“Downstairs, in the shop’s poetry corner, I come across a copy of C P Cavafy’s Collected Poems, translated by Daniel Mendelsohn, whose commentary on “The God Abandons Antony” explains that the title is taken from Plutarch’s Life of Antony. The poem describes the last night on earth of Mark AntonyCleopatra’s lover, as his troops desert him. As Mendelsohn notes, “All Alexandria knew that Antony’s cause was totally lost.” Subsequently defeated, and believing Cleopatra to be dead, Antony takes his own life. Plutarch’s account emphasises the importance of the act of hearing, a “vehicle for apprehending the true significance of what is taking place”. ”

“The connections between the song and the original poem are close. A beloved city (Alexandria, in Egypt) becomes a beloved woman (Alexandra), offering what Cohen has described as “a certain take on loss”. ”

Also today Monty Pelerin’s World publishes “Tyranny Rules”, where the unrelentless process by which the American Republic slides into tyranny is explained. Some Excerpts:

“The Founding Fathers knew the dangers of power and were especially concerned about preventing abuses. They established boundaries beyond which government and its agents were not to exceed. These constraints were codified by laws, a government made up of three equal branches and strong independent states. The Constitution provided the initial laws and defined allocation of power and responsibility among the branches of government and the federal and state governments.”

“Over the course of more than two centuries, these constraints have been under assault by those desiring more power. Time and opportunists have seriously eroded the original intentions and boundaries. “

“Historians in the future will use the concept of freedom to explain America’s decline. Just as increasing freedoms brought success, the diminution of this freedom (tyranny) will eventually be used to explain the downfall. The fall of freedom is the same as the rise of tyranny.”

“America is now run by political sociopaths, unrestricted by laws, ethics or tradition. That characterizes both political parties. It does not matter whether we elect a “good man” next. No country survives dependent on the masses electing the right man.”

“Countries survive with systems that protect them against the wrong man. We have lost that protection.”

Aware of this process it is difficult to avoid the feeling that what Cavafy’s poem and Cohen’s song both convey, of something valuable irretrievably lost, can also be applied to us, that our Alexandria, in western societies, is also lost, and that some of us, too, experience “a certain take on loss”.

Across the Borderland

“When you reach the broken promised land
Every dream slips through your hands
And you’ll know it’s too late to change your mind
’cause you pay the price to come so far
Just to wind up where you are
And you’re still just across the borderline
Now you’re still just across the borderline
And you’re still just across the borderline”

Ryland Peter “Ry” Cooder, born March 15 1947, is an American musician. He is known for his slide guitar work, his interest in roots music from the United States, and, more recently, his collaborations with traditional musicians from many countries. Ry Cooder grew up in Santa Monica, California. His solo work has been eclectic, encompassing folkbluesTex-Mexsoulgospel, rock, and much else. He has collaborated with many musicians, notably including Eric ClaptonThe Rolling StonesVan MorrisonNeil YoungRandy Newman, and The Doobie Brothers. He briefly formed a band named Little Village.

Across the Borderline is a 1993 album by Willie Nelson. It includes songs written by Paul SimonJohn HiattPeter Gabriel, Bob DylanLyle Lovett, and Nelson himself. The title track, “Across the Borderline”, was written by Ry CooderJohn Hiatt, and Jim Dickinson. It is a remake of a song by Freddy Fender, which was featured on the motion picture soundtrack for The Border starring Jack Nicholson.

Statement from Edward Snowden in Moscow

We reproduce the statement issued by Edward Snowden from Moscow via Wikileaks in the hope that the pressure of public opinion will be strong enough to prevent damage being inflicted upon him.

Monday July 1, 21:40 UTC

One week ago I left Hong Kong after it became clear that my freedom and safety were under threat for revealing the truth. My continued liberty has been owed to the efforts of friends new and old, family, and others who I have never met and probably never will. I trusted them with my life and they returned that trust with a faith in me for which I will always be thankful.

On Thursday, President Obama declared before the world that he would not permit any diplomatic “wheeling and dealing” over my case. Yet now it is being reported that after promising not to do so, the President ordered his Vice President to pressure the leaders of nations from which I have requested protection to deny my asylum petitions.

This kind of deception from a world leader is not justice, and neither is the extralegal penalty of exile. These are the old, bad tools of political aggression. Their purpose is to frighten, not me, but those who would come after me.

For decades the United States of America has been one of the strongest defenders of the human right to seek asylum. Sadly, this right, laid out and voted for by the U.S. in Article 14 of the Universal Declaration of Human Rights, is now being rejected by the current government of my country. The Obama administration has now adopted the strategy of using citizenship as a weapon. Although I am convicted of nothing, it has unilaterally revoked my passport, leaving me a stateless person. Without any judicial order, the administration now seeks to stop me exercising a basic right. A right that belongs to everybody. The right to seek asylum.

In the end the Obama administration is not afraid of whistleblowers like me, Bradley Manning or Thomas Drake. We are stateless, imprisoned, or powerless. No, the Obama administration is afraid of you. It is afraid of an informed, angry public demanding the constitutional government it was promised — and it should be.

I am unbowed in my convictions and impressed at the efforts taken by so many.

Edward Joseph Snowden

Wasteland of the Free

In 1996 Iris DeMent released The Way I Should, an album containing ”Wasteland of the Free” a blunt indictment of the right-wing political and social agenda dominating in the US. As Richard Phillips reports, “ Iris DeMent explained that “Wasteland of the Free” was a difficult song to perform because it was so direct. “But I can’t keep quiet about these things,” she added”. 17 years later, it sounds prophetic.

Living in the wasteland of the free…

We got preachers dealing in politics and diamond mines
and their speech is growing increasingly unkind
They say they are Christ’s disciples
but they don’t look like Jesus to me
and it feels like I am living in the wasteland of the free

We got politicians running races on corporate cash
Now don’t tell me they don’t turn around and kiss them peoples’ ass
You may call me old-fashioned
but that don’t fit my picture of a true democracy
and it feels like I am living in the wasteland of the free

We got CEO’s making two hundred times the workers’ pay
but they’ll fight like hell against raising the minimum wage
and If you don’t like it, mister, they’ll ship your job
to some third-world country ‘cross the sea
and it feels like I am living in the wasteland of the free

Living in the wasteland of the free
where the poor have now become the enemy
Let’s blame our troubles on the weak ones
Sounds like some kind of Hitler remedy
Living in the wasteland of the free

We got little kids with guns fighting inner city wars
So what do we do, we put these little kids behind prison doors
and we call ourselves the advanced civilization
that sounds like crap to me
and it feels like I am living in the wasteland of the free

We got high-school kids running ’round in Calvin Klein and Guess
who cannot pass a sixth-grade reading test
but if you ask them, they can tell you
the name of every crotch on MTV
and it feels like I am living in the wasteland of the free

We kill for oil, then we throw a party when we win
Some guy refuses to fight, and we call that the sin
but he’s standing up for what he believes in
and that seems pretty damned American to me
and it feels like I am living in the wasteland of the free

Living in the wasteland of the free
where the poor have now become the enemy
Let’s blame our troubles on the weak ones
Sounds like some kind of Hitler remedy
Living in the wasteland of the free

While we sit gloating in our greatness
justice is sinking to the bottom of the sea
Living in the wasteland of the free
Living in the wasteland of the free
Living in the wasteland of the free

Is there life on Mars? Of course.

“Life on Mars?” is a song by David Bowie first released in 1971 on the album Hunky Dory and also released as a single. Neil McCormick of The Daily Telegraph ranked it as #1 in his 100 Greatest Songs of All Time list. He also commented on the song:

“A quite gloriously strange anthem, where the combination of stirring, yearning melody and vivid, poetic imagery manage a trick very particular to the art of the song: to be at once completely impenetrable and yet resonant with personal meaning. You want to raise your voice and sing along, yet Bowie’s abstract cut-up lyrics force you to invest the song with something of yourself just to make sense of the experience. And, like all great songs, it’s got a lovely tune.”

“Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he’ll ever know
He’s in the best selling show
Is there life on Mars?”