Lawrence Fox on the History of Drag Queen Story Hour

This is a video from Lawrence Fox’s Reclaim the Media channel on YouTube, which is part of his Reclaim party. I’m very much aware that by reblogging it I’m tempting the ire of the Labour party for publishing the ideas and content of a rival party. But I think here Lozza and his crew have a point. Looking at it, he doesn’t object to drag as a late night entertainment for adults. What he objects to is very sexualised drag performances being staged in front of children as a vehicle for indoctrinating them with Queer Theory and the gender ideology.

I state again that I am definitely opposed to anyone being stigmatised or persecuted because of their sexuality or gender identity. I’m putting this video up because I do think that there is an attempt to use drag as a vehicle for indoctrinating children, and that the theories about human sexuality and sexual identity are fundamentally wrong and dangerous.

The video traces the history of drag from the days of ancient Greece, the middle ages and the early modern period, when male actors took female roles because of the social taboos against women appearing on stage. He claims that drag as a distinct form of entertainment appeared in the 19th century. The word itself may be a contraction of ‘Dressed As A Girl’. By the late 19th century drag was subversive and political, critiquing social norms about gender. It was originally late night fun for adults, but now there are attempts to put into the classroom. Drag Queen Story Hour is in the vanguard of this campaign.

Queer Theory, which is part of this new movement, has its origins in the postmodernist philosophical movement of the 1960s and 1970s. It begins with Michel Foucault’s 1976 History of Sexuality. Lozza says that Foucault definitely wasn’t a paedophile. This is almost certainly irony, as Foucault used to travel to north Africa for sex with young, pre-teen boys. He also explicitly argued that children can give sexual consent. His book claimed that sexuality was a social construct shaped by culture and history. This was then extended further by Gail Rubin, a lesbian anthropologist in her Thinking Sex. This also argued that sex and gender were the product of cultural norms, which were themselves oppressive and had no basis in nature. She defended every sexual taboo, including ‘boy lovers’.

Rubin was followed by Judith Butler and her book, Gender Trouble, which introduced into the debate the theory of performativity. Gender was not innate, but something people perform. She also challenged the gender binary of male and female. Drag Queen Story Hour differs from other forms of drag in that it is an exercise in gender performativity. This is unlike pantomime dames, who are comic figures exaggerating some female mannerisms while preserving their male gait. Drag queens themselves evolved from gay nightclubs and cabaret to challenge gender norms, but they were adult entertainment.

Drag Queen Story Hour itself began in 2015 in San Francisco, launched by author and activist Michelle Tea. She started it as a way of spreading knowledge of gay culture. Tea was already involved with transgressive culture, touring with a sex workers’ artistic collective and with a Queer feminist poetry collective, Sisterspit, whose anthology included pieces by and about drug addicts and other marginalised, underground groups. Drag Queen Story Hour was launched with Tea’s own group, Radar Productions, and was first staged in San Francisco public library. It was intended to introduce children to gay culture and diversity, equity and inclusion. It was an immediate success, and spread to other cities and across the Atlantic to Britain.

Lozza states that the claim by its defenders that Drag Queen Story Hour is just about teaching children to read in a fun way is dishonest. Here he mentions the recent scandal of the drag king, who performed in schools in the Isle of Man. This individual sparked controversy and a review of the programme by teaching children that there were 72 genders. Amongst themselves, the advocates of Drag Queen Story Hour are quite clear about their intentions to indoctrinate children. He talks here about the paper ‘Queer Pedagogy’, co-authored by the drag queen Little Miss Hot Mess, which appeared in an American journal of education. This stated the goal was to attack racist, capitalist modes of reproduction and the nuclear family.

From this he moves to the matter of expense and how much these events cost. Much of it is funded by the Arts Council. In 2019 the British Library hosted a Drag Queen Story Hour as part of their ‘Live, Love, Liberty’ exhibition. Last year, 2022, New York public library spent $200,000 on such events. The organisers insisted that these performances were safe, with background checks made on the performers and the performances themselves not sexual and suitable for children. This was belied by clips of some of these events showing very sexualised performances. Seven of the drag queens who performed in the Story Hours have been charged with child sex offences. Sharon Le Grand, another drag queen, also said in 2022 ‘We need to teach our children to open their hearts. We need to teach our children to open their minds. We need to teach our children to open their legs.’ Drag kings, a recent addition to the show, have also exposed their chests during the performances to show their mastectomy scars, blurring the line between drag and strip shows. He also talks about the problem of the adult nature of the drag acts away from children. Many of them have web pages with very adult jokes and content, which children can easily find. As an example, he gives a rather coarse joke from Ruby Violet’s description of herself, who performed in front of children aged 3-11 in an event staged by Hertfordshire council.

He concludes by discussing the way opposition to Drag Queen Story Hour has been misrepresented and the attempts to outlaw protests against it. The Beeb declared that opponents of drag queens were motivated by conspiracy theories and were members of the far right. In Canada a law has been passed banning protests within a certain limit of drag queen performances, punishable by a fine of $25,000. The video concludes with him mentioning that there are a number of organisations fighting the gender ideology and Drag Queen Story Hour, whose details he’ll put in the blurb about the video, and a plug for another YouTube series from Reclaim, Bad Education.

While I feel that the video is broadly accurate, obviously that doesn’t mean that each and every drag queen involved in story hour is ideologically motivated or a danger to children. Clive Simpson and Dennis Kavanagh have said in their YouTube videos, The Queens’ Speech, that many drag queens are just gay men trying to make a buck, and so don’t want a blanket ban on such shows. The EDIjester has also drawn a distinction between British and American drag. In his view, British drag, unlike its American counterpart, came out of the music hall tradition and wasn’t sexual. Again, I remember when British TV comedy frequently included drag. One of the major stars of 70s week day TV was Danny La Rue, while comedians and comic actors like the Two Ronnies, Dick Emery and Les Dawson also performed in drag. Also back in the 70s and 80s were Hinge and Bracket, which mixed musical comedy with drag. Again, this was mainstream entertainment on TV and radio and considered entirely innocuous. There have also been Paul O’Grady’s Lily Savage and Barry Humphries with Dame Edna Everege.

And yes, some of the opponents of Drag Queen Story Hour are far right conspiracy theorists. You can see that with Correct, Not Political, who hold weird conspiracy theories about the World Economic Forum, staged counter-protests against left wing demonstrations and openly admire Mosley. Their opposition to Drag Queen Story Hour comes from a deeper hostility to homosexuality and its promotion.

But I think critics of Drag Queen Story Hour and Queer Theory, like James Lindsay, are absolutely correct about the attempts to use drag as a vehicle for explicit political indoctrination and very harmful ideas about gender. It’s this aspect of it that needs to fought and combated.

Simon Webb Claims that the Haye-On-Wye Literary Festival is Dumbing Down with the Inclusion of Stormzy and Dua Lipa

More from our favourite internet non-historian. History Debunked put up a piece today criticising the Haye-on-Wye literary festival for heading downmarket in the name of diversity. They’ve had a change of director, and according to him, the festival has been judged to be ‘too White’. And so make it more inclusive, they have included the Black rapper Stormzy and Dua Lipa, another pop star, who’s of Albanian heritage. He argues that there are plenty of Black and ethnic minority writers, like Vikram Seth, who he says is miles better than other, White writers, but they tend to be quiet, thoughtful types and so not calculated to appeal to the new demographic the Festival hopes to reach out to. This is an ominous sign, according to Webb, because the inclusion of those two has started a trend in which literature will be second place.

Okay, so I did what Gillyflower has advised me to do, and decided to check what was actually going on at Haye-on-Wye. I took a glance at this year’s programme. There seems to be a number of the thoughtful, serious ethnic writers Webb talks about, including a Black author talking about his decades of writing on the topic of race. I didn’t find the event with Stormzy, but I did find the one with Dua Lipa. She’s there talking about her life and career, but the programme also says she champions books and reading on her Service 95 podcast. This puts a slightly different complexion on it than Webb’s discussion. She’s there not just because she’s a pop star, but because she’s also a literary woman as well. If there’s an issue there, it’s the same one as when Mariella Frostrup started presenting a literary review programme on the Beeb. Is the presenter too lightweight? Well, if it takes a popular media celebrity to get people to stick their noses into books, I don’t care. And it doesn’t mean that the people who go to see her won’t also go and see some of the other, more high-brow speakers. I can remember hearing Terry Pratchett talk at the Cheltenham Literary Festival years ago about how the directors of that festival looked on him with disdain as if he were going to talk about fixing motorcycles when he began speaking there. When the Discworld books came out there was massive sneering at them from the literary establishment, including the panel on the late Newsnight Review when Tom Paulin showed his real literary prejudice against genre fantasy. But this was just literary snobbery and Pratchett became, at least in my biased estimation, one of their most popular speakers. British culture didn’t fall because he spoke, and it hasn’t prevented me nor anybody else going to see some of the other, rather more serious speakers. I don’t think the inclusion of Dua Lipa will do the same to British literary culture either.

And if we’re on the subject of popular music, I notice they have a Jazz band playing. I know that Jazz now occupies the same highbrow cultural niche as classical music, with radio programmes about it like Late Junction and Freeness appearing on Radio 3. Duke Ellington was also their composer of the week a couple of decades ago. But Jazz is popular music with its own clubs, if now massively overshadowed by pop, rock and the other genres. But I can’t imagine anyone complaining that the Festival would be turned overwhelmingly towards Jazz instead of literature because of the band’s inclusion.

If there is a problem with the Haye-on-Wye Festival, it may well be the same one Private Eye’s literary column identified years ago with the Cheltenham literary festival. The complaint then was that a large proportion of the speakers were celebrities, such as TV personalities, who had written a book but did not make their main living from literature. People like, I presume, the actor David Walliams, who has written a string of children’s books. I haven’t heard that criticism repeated, so I assume that despite the influx of media celebs, British literary culture has still held firm. I don’t doubt that the Haye-on-Wye Festival will still uphold literary standards with the appearance of Stormzy and Dua Lipa. The Cheltenham Festival has held poetry slams which have included rap as well as British Afro-Caribbean poetry, and it’s still going on.

Sturgeon’s Not Responsible for Kids Queuing for Soup: The Tories Are

That Preston Journalist, whose real name, I am assured by the great people who comment here, is Ashley Kaminski, put up a genuinely heart-breaking video last night. People had been queuing outside a soup kitchen in Glasgow. Among the adults were ten children, including a babe in arms. Kaminski thought that this was terrible, as he should. He’s an avowed opponent of Nicola Sturgeon and all her works, dubbing her ‘McKrankie’ after her supposed resemblance to one half of a double act back in the 1980s. From the tone of his piece, he clearly wanted to blame her, but couldn’t quite. It was wrong, he said, whoever was responsible.

Okay, I don’t know what powers the devolved Scots parliament has, especially regarding welfare policies. I am sure that many Scots voted SNP, not because they wanted independence, but simply because they wanted a proper welfare state, something that wasn’t being offered by Jim Murphy’s Scottish Labour party. But this scandalous situation has been around far longer than the SNP’s administration, and it afflicts communities right across Britain. In Scotland there was a parliamentary inquiry into food banks a few years ago. One of those speaking before the committee was a volunteer, who described the intensely dispiriting deprivation and poverty he saw as he did his job. And I can remember putting up a 19th-early 20th century poem about children queuing outside a food kitchen. It’s disgusting that Britain has returned to such levels of poverty.

But Krankie isn’t responsible. The Tories are. They’ve insisted on wages so low working families can’t make ends meet, and cut welfare payments again and again, all with mantra of encouraging ‘welfare scroungers’ to look for work, making work pay and all the other nonsense. They’ve also introduced benefit sanction after benefit sanction, all with the same intention. It also helps to fiddle the unemployment statistics, as if they’re off the DHSS’ books, they aren’t counted as unemployed.

It’s possible that Sturgeon’s policies aren’t helping the situation north of the border. But the ultimate blame lies with the Tories, and it started when Ruth Davidson, the head of the Conservatives up there, was in power. And Sturgeon definitely isn’t responsible for it down south in England and Wales.

The Tories are. It started under Cameron.

They’re starving children.

Get them out!

Sketches of Comedy Writers and Broadcasters Frank Muir and Dennis Norden

Frank Muir

Dennis Norden

Muir and Norden were a duo of comedy writers who together were responsible for some of the radio comedy hits of yesteryear. I think they may have started out with Take It From Here before producing possibly their best-known series, The Glums. This was their response to the one of the first British soap operas, Life With The Lyons. The Lyons were a very clean, respectable family. This was well before the gangsters, crims, adulterers and murderers now populating British and international soaps. Their answer to this was to create a comically horrible family. This consisted of the blokey Mr. Glum, played by Professor Jimmy Edwards, his gormless son, Ern played by Ian Lavender, and Ern’s girlfriend, Eth, played by June Whitfield.. Mrs Glum never appeared as a distinct character, except for growling heard coming from upstairs. The episodes usually began with Mr Glum in the pub. As the landlord rings the bell for last orders, Mr. Glum orders one last pint before recounting that week’s tale of comic woe to his cronies. The series was adapted for TV in the 1970s, the scripts were collected and published as a book, and the series is also available on DVD.

Apart from writing, the two also appeared on a number of TV and radio panel shows. Dennis Norden appeared on My Music, with three other singers and experts: John Amis, the opera singer Wallace, and Arthur Marshal. After his death, Marshal’s biography appeared in the book Three Gay Lives, along with two others. This revealed that during the War, Marshal had been part of a team sent to hunt down one of the leading Nazis – I think it may have been Himmler. Marshal himself commented wryly that he was a strange choice for such a project. He had a gentle, camp manner, but appearances can be deceptive. Sometimes the men with gentlest or most camp demeanour can be some of the toughest. But possibly not in Marshal’s case. Norden was a specialist in the peculiar hits of yesterday. I particularly remember a hilarious rendition he gave of the 30s pop song, ‘I Love Me (I’m Wild About Myself). This has stayed with me so much, that when I found the sheet music for it in a secondhand shop in Cheltenham, I immediately bought it.

Muir and Norden also appeared together on another BBC 2 show, Call My Bluff. In this show, two teams competed to present the definitions of obsolete words. Three were given for each word, but only one was correct. The object was to deceive their opponents into choosing the wrong definition, while guessing the right meanings themselves. Both My Music and Call My Bluff were originally broadcast in the evening. After the original series of Call My Bluff ended, it was later revived as an afternoon show.

They also appeared on another panel show, this time on the radio, My Word. The teams were given a famous saying or literary quote and asked to make up a story inspired by it, ending with a pun on the original saying. In one edition, they were given the phrase, ‘The mass of men lead lives of quiet desperation. This was turned into a story about how tall men have small wives, who stop them getting to sleep at night with their snoring. This culminated in the pun, ‘The massive men need wives of quiet respiration.’ In yet another edition, they were given the line from Pepys’ diaries, ‘And so to bed’. This inspired a very convoluted story which produced the final, punning line, ‘And saw Tibet.’ These stories and their inspiration were also collected and published.

I also remember that Dennis Norden also had his own afternoon show in the 1970s, in which he took the audience back to the cinema of yesteryear. But the films he chose were obscure, rather than the big cinema successes, and he definitely had a taste for entertaining B movies. These were often films so bad, they were entertaining. One of these was a fifties movie which featured a great White hunter staggering out of the jungle before collapsing. As he did so, a voice intoned, ‘He came out of the jungle drained of man’s essence’. I think the story was about how he’d been captured by a tribe of women, who then banged him till he escaped utterly exhausted. This seems to have been part of a series of films of the time in which male explorers stumbled on all-female societies. This was a particular favourite in Science Fiction. There was one about earthmen landing on such a female society on Venus, and another one where the matriarchal society was on one of the moons of Jupiter or Saturn. Hammer also contributed to this particular theme with the 1948 Devil Girl From Mars. In this flick, a Martian woman lands on Earthy on a mission to kidnap men for use as breeding stock on her homeworld. As the taste for such terrible movies increased and they became a genre in themselves, Badfilm, aided by the Medved brother’s Golden Turkey Awards and Michael Medved’s 1980s Channel 4 series, The Worst of Hollywood, this film was reissued on DVD in the ’90s. I wonder if these films were part of crisis in masculinity caused when men returned from the War to find that women had taken over their roles in industry and society when they had been away fighting. One of the other films he commented on was Glen/Glenda or I Changed My Sex. This was a tale of one man’s struggle with his transvestism. It’s quite a daring subject, considering the very conservative morality of the time. It could have been done well if intelligently handled. A few years ago, the Beeb broadcast an autobiographical play by ceramicist and transvestite Grayson Perry, Mr. Misunderstood, about how his own shame and struggle over his crossdressing. However, Glen/Glenda was one of the demented products of Ed Woods, whose films have become bywords for spectacularly bad films. His Science Fiction outing, Plan 9 From Outer Space, about UFOs invading Earth and causing zombies to rise from their graves, was voted the worst film of all time. I think its place may now have been usurped by the recent Badfilm, The Room. Glen/Glenda isn’t that bad, but it does boast leaden dialogue, a dream sequence in which furniture moves about for no reason, and Woods’ friend Bela Lugosi, appearing as God, saying, ‘Dance to this, dance to that, but beware of the little green dragon sleeping on your doorstep.’

Later Norden starred as the presenter of the long-running show presenting hilarious bloopers and outtakes, It’ll Be Alright on the Night. This started in the 1970s but has continued to appear sporadically ever since. Since Norden’s death it’s been presented by Griff Rhy Jones and David Walliams. Muir had a rather impish sense of humour. In a Christmas article in the Radio Times one year, he described a trick he liked to play at that time of year on his relatives north of the border. He’d include with the Christmas card a completely made-up quote from Rabbie Burns, and chuckle at them trying to work out which one of the works of Scotland’s national poet it appeared in. His voice also appeared in a comic TV advert for fruit and nut chocolate. This had him singing ‘Everyone’s a Fruit and Nutcase’ to the tune of one of Tchaikovsky’s classics.

Muir and Norden in many ways were highly influential figures in the development of British comedy and their programmes were very witty. The gentle humour of their panel games now seems to me to be a world away from today’s much more savage and cutting humour of satirical shows like Mock The Week, The Last Leg and Have I Got News For You, at least when that first came out.

‘I Love Me (I’m Wild About Myself’ was a vaudeville song recorded in 1923 by Irving Kaufman of the Avon Four. I found this original recording of it on Daniel Melvin’s channel on YouTube. I hope you enjoy its comic absurdity.

I also found these two versions of the Fruit and Nut advert on YouTube. This one’s from IanLucey1972’s channel.

And this from Findaclip.

A History of Racism in the Islamic Middle East

Bernard Lewis, Race and Slavery in the Middle East: An Historical Enquiry (Oxford: OUP 1990).

Bernard Lewis is a veteran scholar of Islam, and this book is an examination of the emergence and development of predominantly Muslim Arab racism in the Middle East. The book is a reworking of two previous studies from the 1970s, one of which was first published in French. It started off as part of an academic examination of intolerance, concentrating on religious bigotry. Lewis, however, believed that issue had been solved and so moved on to racial intolerance. Unfortunately, as the past fifty years have unfortunately shown, religious hatred and bigotry has certainly not died out, as shown here in Britain with the sectarian violence in Ulster.

Arab Ethnic Identity Before Colour Prejudice

Islam is viewed as an anti-racist religion, and the Qur’an states categorically that Blacks and Whites are both equal and should be treated as such. This admirable attitude was maintained by its theologians and jurists. However, with the emergence and expansion of the Islamic empires this began to change and prejudice and racism, based initially in ethnic differences and then on skin colour, emerged. The book argues that the pre-Islamic and early Islamic Arabs, like the other nations around them, had a strong sense of their own superiority against those of the surrounding peoples. This was based on ethnicity, not colour. A variety of colours were used to describe the variations in human complexion, and were used in relative rather than absolute terms. Thus the Arabs saw themselves as black compared to the ‘red’ Persians, but white compared to the Black peoples of Africa. As the new Arab ruling class intermarried with the peoples they had conquered, so there developed an attitude which saw Arabs of mixed descent as inferior, leading to dynastic conflicts between those of pure and mixed race. Muslim Arabs also saw themselves as superior to converts to Islam from the indigenous peoples of the Islamic empire, and a set of rules developed to enforce the converts’ inferior social status. At the same time, the Arabs formed various explanations based on the environment for the ethnic differences they observed among different peoples. An Iraqi writer believed that Whites had been undercooked in the womb due to the coldness of the environment they occupied. Blacks, on the other hand, were overcooked. The Iraqi people, however, were brown and mentally and physically superior to the other two races.

Development of Anti-Black Prejudice

As Islam expanded into sub-Saharan Africa anti-Black racism developed. This did not initially exist, not least because Ethiopia had been one of the major superpowers in the Arabian peninsula with a superior culture. Muslims also respected the Abyssinians for giving sanctuary to many of Mohammed’s followers during their persecution by the Meccan pagans. Over time, however, an attitude of contempt and racial superiority emerged towards Blacks. This racism even extended towards highly regarded Black Arabic poets and the governors of provinces, who were reproached and vilified for their colour by their enemies. Here Arab racist views of Blacks is nearly identical to those of White European racists. They were seen as lazy, ugly, stupid and lustful. The prurient view of Black women as boiling with sexual desire mirrors the racist attitude towards Jewish women amongst western anti-Semites. On the other hand, Blacks were also seen as strong, loyal, generous and merry. They also had excellent rhythm. Although both Whites and Blacks were enslaved, White slaves had a higher status and different terms were used to describe them. White slaves were mawlana, literally, ‘owned’. Only Black slaves were described as slaves, abid, a term that is still used to mean Black people in parts of the Arab world today.

The expansion of the European states and empires effectively cut off or severely diminished the supply of White slaves, and as a consequence the value of Black slaves began to rise. Unable to afford White slaves and concubines from Europe and the Caucasus, the peoples of the Middle East turned instead to Abyssinians and the Zanj, Black Africans from further south. Abyssinians in particular were prized for their beauty and other qualities, and its from this period that the Arab taste for the beauty of Black Africans rather than Whites developed. And as anti-Black racism developed, so Muslims scholars and authors wrote pieces defending Blacks from racism, not least because many of Mohammed’s Companions had been Black and the emergence of powerful Muslim kingdoms in Africa.

Islamic Slavery and Slave Armies

Islamic slavery was comparatively milder and more enlightened than western slavery. Although technically slaves could not own property and were disbarred from giving evidence in court, there was limitations on the punishments that could be inflicted on them. Muslims were urged to treat their slaves humanely and manumission was praised as a noble act. It was particularly recommended for the expiation of particular sins. At the same time Islam permitted contracts to be made between master and slave allowing the slave to save enough money to purchase his freedom at an agreed date. There were stories of particular Muslims who freed their slaves even in circumstances where punishment would have been expected. One master freed a female slave after she asked him why he was still alive, as she had been trying to poison him for a year. Slaves could rise to high office. The viziers and other chief dignitaries of the Ottoman empire were slaves. Slaves were used to staff Muslim armies, and there were separate regiments for White and Blacks slaves. Sometimes this resulted in battles between the two, as during the dynastic battles where one side used Black soldiers and the other White. The mamlukes, the Egyptian warriors who ruled Egypt and who expelled the Crusaders and stopped the Mongols conquering the Middle East, were White slaves. They were freed after completing their military training and their leaders preferred to purchase other slaves for training as their successors rather than pass on their position to their own children.

Islam’s acceptance and regulation of slavery, like Judaism, Christianity and other religions, as well as the views of ancient philosophers like Aristotle, also meant that there was opposition to its abolition. Muslim defenders of slavery produced the same arguments as their Christian counterparts, including the argument that Blacks and other infidels were better off enslaved as it introduced them to a superior civilisation. When a 19th century British consul inquired of the king of Morocco what steps he was taking regarding slavery and the slave trade, he was politely informed that all the legislation was based on the Qur’an and sharia and that there was no intention of banning slavery as it was permitted by Islam. Indeed, the Ottoman province of the Hijaz, the area around the holy cities of Mecca and Medina, was exempt from the Ottoman ban on slavery and the slave trade after the ulema and nobles declared it to be an attack on Islam, along with legislation allowing women to go in public without the veil. The Turks were declared to be apostates, who could be killed and their children enslaved. Many of the pilgrims to Mecca came with a number of slaves, who acted as living sources of funding. When the pilgrim needed more money, he sold one or two of them.

The Myth of Muslim Non-Racism

In the last two chapters, Lewis discusses the emergence of the view of Islam as completely non-racist and that its slavery was benign. He argues that this was largely the creation of western scholars reacting to the horrors of New World slavery during the American Civil War. Christian missionaries also contributed to this myth. They attempted to explain their failure to make converts by arguing that it was due to Black African revulsion against harsh western slavery. In fact it was due to differences of colour. Islam spread because it was promoted by Black African preachers, rather than White westerners. Particularly influential in the creation of this myth was Edward Blydon, a Black West Indian who was educated in Liberia by the missionaries. He became convinced that Islam was more suited to the needs of Black people, and his books also stressed White guilt, contrasting it with Muslim tolerance. Lewis also believes that the myth is also due to a widespread feeling of guilt among western Whites, which he sees as the modern counterpart to Kipling’s White man’s burden.

Along with the text of the book itself are extensive notes and a documentary appendix containing texts including a Muslim discussion on national character, the rights of slaves and diplomatic correspondence and observations on the 19th century slave trade.

Race and Slavery Compared with Brown’s Slavery & Islam

This book should ideally be read alongside Jonathan A.C. Brown’s Slavery & Islam, as the two present contrasting views of slavery and racism in Islam. Brown is a White, American academic and convert to Islam. While he condemns slavery totally, his book presents a much more positive view of Islamic slavery compared with western servitude and even the conditions endured by 19th century free European workers. He also extensively discusses Islamic abolition and the voices for it, while Lewis lays more stress on Muslim opposition. Brown recognises the existence of racism in the Islamic world, but also emphasises Muslim anti-racist texts like The Excellence of the Negroes. But as Lewis points out, these texts also show the opposite, that there was racism and bigotry in the Muslim world.

Lewis also recognises that Muslim slaves generally enjoyed good conditions and were treated well. However, the real brutality was inflicted on them during the journey from their place of capture to the Islamic heartlands. He also suggests that this relatively benign image may be due to bias in the information available. Most Muslim slaves were domestic servants, unlike the mass of slave labouring on the plantations in America. There were gangs of slaves working cotton plantations and employed in mining and public works, and these laboured in appalling conditions. It may also be that there were more slaves working in agriculture than recognised, because the majority of the information available comes from the towns, and so ignore what may have been the harsher treatment in the countryside.

He also discusses the absence of descendants of the Black slaves, except for a few pockets, in the modern Middle East. David Starkey in an interview for GB News claimed it was because the Muslim slave masters killed any babies born by their slaves. I don’t know where he got this idea. Lewis doesn’t mention such atrocities. He instead suggests that it may have been due to the castration of large numbers of boys to serve as eunuchs in the harems. The other slaves were forbidden to marry and have sex, except for female slaves purchased for that purpose. Slaves were also particularly vulnerable to disease, and so an epidemic lasting five years could carry off an entire generation.

Importance of the Book for an Examination of Contemporary Racial Politics

I was interested in reading this book because of the comparative lack of information on slavery and racism in Islam, despite the existence of books like Islam’s Black Slaves. Lewis in his introduction states that researching the issue may be difficult and dangerous, as it can be interpreted as hostility rather than a genuinely disinterested investigation. I think there needs to be more awareness of the history of Muslim slavery and Islam. For one reason, it explains the emergence of the slave markets in that part of Libya now occupied by the Islamists. It also needs to be more widely known because, I believe, the emphasis on western historic slavery and racism can present a distorted image in which the west is held to be uniquely responsible for these evils.

A History of White Slavery in North Africa and Condemnation of Black American Slavery

Charles Sumner, illustrated by E.R. Billings, White Slavery in the Barbary States (N.D.: Amazon).

I just finished reading this short history of White enslavement this week. It’s only about 81 pages, so not a detailed history of its subject. But it’s still very good. The Barbary pirates were a group of Arab Moslem raiders, who seized control of Morocco, Algiers, Tunis and Tripolitania in the mid-17th century. They then began raiding Mediterranean shipping and Europe from France, Spain and Italy to Britain and as far afield as Iceland. The captives were held to ransom. Some were given jobs to do. These included domestic servants and keeping taverns, or labouring in the fields. Otherwise were condemned to the infamous galleys. Europeans responded with a series of counterattacks intended to free the slaves and impose treaties on the rulers forbidding them from continuing the slave raiding. These held for only a few years until a new round of slaving began. They finally stopped in the early 19th century after counterattacks by the British and Americans and the French invasion of Algiers in the 1830s.

There’s no biographical information about Sumner, and the book’s blurb states only that it was first published in the 1853. It is clear from its content, however, that Sumner was ardent opponent of all slavery including that of Blacks in his own country, America. He begins by comparing the Barbary states and their slave economy with America’s, right down to both slave territories existing at roughly the same latitude. He then proceeds with a short history of slavery in the ancient world from the Old Testament through the ancient Greeks and Romans and Christian Europe, noting that the word ‘slave’ comes from the Slavonic ‘Slava’, ‘glory’, the Slavs’ own name for themselves, because they were the main source of slaves in Europe. He then states that it is thus quite natural that the Moslems followed their predecessors in practising slavery. The book describes the repeated raids on American and European shipping, the various campaigns of reprisals, chiefly by the French and Spanish, as well as resistance by the victims themselves. There were revolts of the White slaves in the various north African towns and mutinies by enslaved sailors, some of whom managed to escape back to Europe after overpowering their captors. at the same time, communities in Europe and America came together to prey for the deliverance of their loved ones from enslavement and raise money to pay the ransoms. These were not cheap. Sumner includes a schedule of the ransom demanded for various grades of sailor. The ransom for a captain was about $3,000 +. Quite often these payments ran into tens of thousands of dollars.

The raids also had an effect on European literature and culture. Cervantes based his description of north African slavery on his own experience as a slave there. And apart from Don Quixote, he wrote a series of plays intended to raise awareness of the plight of the slaves. And there were others producing plays and poetry, including Aphra Behn, the English female playwright, in her Oroonoko. Sumner celebrates these condemnations of slavery, including that of Bartolome de las Casas, the Spanish friar who protested against the enslavement of the Indigenous American peoples. He rightly describes them as abolitionists, though laments the one-sidedness in so many of their denunciations. They were all too often directly only against the enslavement of fellow Whites while remaining silent about that of Blacks and others races. He points out that Black American slavery was harsher and more brutal than that endured by the White slaves in the Barbary states. Some of these found themselves so well treated and became so prosperous at the jobs they were given, such as keeping taverns and shops, that they didn’t want to return home.

The book still condemns White enslavement in harsh terms, but also condemns the more brutal treatment of Blacks, whose enslavement the author also passionately argues against.

Book on Islam and Slavery

Jonathan A.C. Brown, Slavery & Islam (London: Oneworld Publications 2919).

This is another book I’ve bought for my reading on non-western forms of slavery. The book’s blurb runs

‘Every major religion and philosophy has once once condoned or approved of slavery, but in modern times nothing is seen as more evil. Americans confront this crisis of authority when they erect statues of Founding Fathers who slept with their slaves. And Muslims faced it when ISIS revived sex slavery, justifying it with verses from the Quran and the practice of Muhammad.

Exploring the moral and ultimately theological problem of slavery, Jonathan A.C., Brown traces how the Christian, Jewish and Islamic traditions have tried to reconcile modern moral certainties with the infallibility of God’s message. He lays out how Islam viewed slavery in theory, and the reality of how it was practiced across Islamic civilisation. Finally Brown carefully examines arguments put forward by Muslims for the abolition of slavery.’

Brown is Professor of Islamic Civilisation at Georgetown University, and this is very much an academic book. It begins with a statement of Brown’s argument and a denial that it is an apology for slavery, followed by pages about the very definition of slavery. While many people will feel it’s unnecessary, it’s important to distinguish slavery from other forms of unfreedom, like serfdom. The book then discusses slavery in the Qur’an and Sunna, the traditions about Mohammed which are considered sound and reliable by Muslims. It then examines the Muslim reform of slavery, the influence of previous civilisations, slavery as regulated and defined by shariah. The chapter on slavery and Islamic civilisation discusses issues like the classic slavery zone, slavery and racial intermixing, and the social roles slaves could perform from domestic worker to scholar, saint, poet or elite administrator. Then there’s a chapter presenting the moral arguments against slavery and it’s intrinsic evil, especially as this confronts Americans and Muslims, followed by a chapter on Islamic attempts and arguments for slavery’s abolition. The succeeding chapter is on the Prophet and ISIS, examining issues such as whether Islamic attempts at abolition are successful or morally acceptable, whether slavery in the Islamic world could ever be legalised again and ISIS and slavery. The last chapter is about concubinage and sex slavery, which is obviously the major issue that provoked the author to write his book. There are six appendices, 1, is on a slave saint of Basra; 2 on western Enlightenment thinkers and slavery; 3 on whether the 1926 Muslim world congress actually condemned slavery; 4 on whether Mariya was Muhammad’s wife or concubine; 5 on whether shariah law considers freedom a human right, and 6 on the enslavement Muslim unbelievers or apostates.

The book appears to be an exhaustive examination of the issue, and I’ve no doubt the vast majority of Muslims were as shocked by ISIS’ revival of sex slavery as everyone else. But unfortunately sex slavery isn’t the only form of slavery that has been revived. The sponsorship system for migrant workers in the Gulf Arab states very much acts as a form of enslavement. During the Sudanese civil war Arabs enslaved the country’s Black population, and since then slave markets selling Black African migrants have opened in the part of Libya held by Islamists.

Of course Islam isn’t the only culture facing a revival of slavery. Way back in the 1990s the book Disposable People examined the persistence of slavery around the world, from enslaved workers in Brazil and the far east to traditional slaves in Africa and slaves brought to the west by their Arab masters in the guise of servants. The book estimated that there were 20 million people enslaved around the world. I’ve no doubt that, thanks to neoliberalism and the global assault on workers’ rights and conditions, this number has increased. Hopefully books like this will clarify the issues and help to combat it so that it can be genuinely consigned to the past.

Hey-Ho for Hallowe’en

It’s October 31st, Hallowe’en. This is supposed to come from the pagan Irish festival of Samhain, but over a decade ago now Dr Ronald Hutton, a history professor at Bristol University, published an article criticising this view in the Earth Mysteries/ Alternative Archaeology magazine 3rd Stone. One of the postgraduate students in the religion department at Bristol University was studying it, however, and she found that it did come from Ireland. So what the real origin of Hallowe’en is I have no idea.

One of the children’s books I had when I was young was The Beaver Book of Creepy Verse, which had this little rhyme:

Hey-ho for Hallowe’en

And the witches to be seen.

Some black and some green.

Hey-ho for Hallowe’en.

Which is obviously great fun if you’re a small child, but isn’t going to win any literary awards.

In Somerset the Jack O’ Lanterns made at this time of year were called ‘punkies’ and there was a doggerel verse about how this was ‘punkie night’. Not obviously to be confused with punks, however, despite the physical similarity some people might have to pumpkins.

Thanks to the Coronavirus, going to parties is out of the question. Many cities are ascending the tiers of restrictions the government has imposed, and I’ve heard that it’s likely that the government will imposed a general lockdown sometime next week. But I hope everyone will nevertheless have a great day, and a bit of spooky fun if they want. Even if it just watching a horror video with the peeps in your social bubble.

No Flesh Is Spared in Richard Stanley’s H.P. Lovecraft Adaptation.

Well, almost none. There is one survivor. Warning: Contains spoilers.

Color out of Space, directed by Richard Stanley, script by Richard Stanley and Scarlett Amaris. Starring

Nicholas Cage … Nathan Gardner,

Joely Richardson… Theresa Gardner,

Madeleine Arthur… Lavinia Gardner

Brendan Meyer… Benny Gardner

Julian Meyer… Jack Gardner

Elliot Knight… Ward

Tommy Chong… Ezra

Josh C. Waller… Sheriff Pierce

Q’orianka Kilcher… Mayor Tooma

This is a welcome return to big screen cinema of South African director Richard Stanley. Stanley was responsible for the cult SF cyberpunk flick, Hardware, about a killer war robot going running amok in an apartment block in a future devastated by nuclear war and industrial pollution. It’s a great film, but its striking similarities to a story in 2000AD resulted in him being successfully sued by the comic for plagiarism. Unfortunately, he hasn’t made a major film for the cinema since he was sacked as director during the filming of the ’90s adaptation of The Island of Doctor Moreau. Th film came close to collapse and was eventually completed by John Frankenheimer. A large part of the chaos was due to the bizarre, irresponsible and completely unprofessional behaviour of the two main stars, Marlon Brando and Val Kilmer.

Previous Lovecraft Adaptations

Stanley’s been a fan of Lovecraft ever since he was a child when his mother read him the short stories. There have been many attempts to translate old Howard Phillips’ tales of cosmic horror to the big screen, but few have been successful. The notable exceptions include Brian Yuzna’s Reanimator, From Beyond and Dagon. Reanimator and From Beyond were ’80s pieces of gleeful splatter, based very roughly – and that is very roughly – on the short stories Herbert West – Reanimator and From Beyond the Walls of Sleep. These eschewed the atmosphere of eerie, unnatural terror of the original stories for over the top special effects, with zombies and predatory creatures from other realities running out of control. Dagon came out in the early years of this century. It was a more straightforward adaptation of The Shadow Over Innsmouth, transplanted to Spain. It generally followed the plot of the original short story, though at the climax there was a piece of nudity and gore that certainly wasn’t in Lovecraft.

Plot

Color out of Space is based on the short story of the same name. It takes some liberties, as do most movie adaptations, but tries to preserve the genuinely eerie atmosphere of otherworldly horror of the original, as well as include some of the other quintessential elements of Lovecraft’s horror from his other works. The original short story is told by a surveyor, come to that part of the American backwoods in preparation for the construction of a new reservoir. The land is blasted and blighted, poisoned by meteorite that came down years before. The surveyor recounted what he has been told about this by Ammi Pierce, an old man. The meteorite landed on the farm of Nahum Gardner and his family, slowly poisoning them and twisting their minds and bodies, as it poisons and twists the land around them.

In Stanley’s film, the surveyor is Ward, a Black hydrologist from Lovecraft’s Miskatonic University. He also investigates the meteorite, which in the story is done by three scientists from the university. The movie begins with shots of the deep American forest accompanied by a soliloquy by Ward, which is a direct quote from the story’s beginning. It ends with a similar soliloquy, which is largely the invention of the scriptwriters, but which also contains a quote from the story’s ending about the meteorite coming from unknown realms. Lovecraft was, if not the creator of cosmic horror, then certainly its foremost practitioner. Lovecraftian horror is centred around the horrifying idea that humanity is an insignificant, transient creature in a vast, incomprehensible and utterly uncaring if not actively hostile cosmos. Lovecraft was also something of an enthusiast for the history of New England, and the opening shots of the terrible grandeur of the American wilderness puts him in the tradition of America’s Puritan settlers. These saw themselves as Godly exiles, like the Old Testament Israelites, in a wilderness of supernatural threat.

The film centres on the gradual destruction of Nathan Gardner and his family – his wife, Theresa, daughter Lavinia, and sons Benny and Jack – as their minds and bodies are poisoned and mutated by the strange meteorite and its otherworldly inhabitant, the mysterious Color of the title. Which is a kind of fuchsia. Its rich colour recalls the deep reds Stanley uses to paint the poisoned landscape of Hardware. Credit is due to the director of photography, Steve Annis, as the film and its opening vista of the forest looks beautiful. The film’s eerie, electronic score is composed by Colin Stetson, which also suits the movie’s tone exactly.

Other Tales of Alien Visitors Warping and Mutating People and Environment

Color out of Space comes after a number of other SF tales based on the similar idea of an extraterrestrial object or invader that twists and mutates the environment and its human victims. This includes the TV series, The Expanse, in which humanity is confronted by the threat of a protomolecule sent into the solar system by unknown aliens. Then there was the film Annihilation, about a group of women soldiers sent into the zone of mutated beauty and terrible danger created by an unknown object that has crashed to Earth and now threatens to overwhelm it. It also recalls John Carpenter’s cult horror movie, The Thing, in the twisting mutations and fusing of animal and human bodies. In the original story, Gardner and his family are reduced to emaciated, ashen creatures. It could be a straightforward description of radiation poisoning, and it indeed that is how some of the mutated animal victims of the Color are described in the film. But the film’s mutation and amalgamation of the Color’s victims is much more like that of Carpenter’s Thing as it infects its victims. The scene in which Gardner discovers the fused mass of his alpacas out in the barn recalls the scene in Carpenter’s earlier flick where the members of an American Antarctic base discover their infected dogs in the kennel. In another moment of terror, the Color blasts Theresa as she clutches Jack, fusing them together. It’s a piece of body horror like the split-faced corpse in Carpenter’s The Thing, the merged mother and daughter in Yuzna’s Society, and the fused humans in The Thing’s 2012 prequel. But it’s made Lovecraftian by the whimpering and gibbering noises the fused couple make, noises that appear in much Lovecraftian fiction.

Elements from Other Lovecraft Fiction

In the film, Nathan Gardner is a painter, who has taken his family back to live on his father’s farm. This is a trope from other Lovecraft short stories, in which the hero goes back to his ancestral home, such as the narrator of The Rats in the Walls. The other characters are also updated to give a modern, or postmodern twist. Gardner’s wife, Theresa, is a high-powered financial advisor, speaking to her clients from the farm over the internet. The daughter, Lavinia, is a practicing witch of the Wiccan variety. She is entirely benign, however, casting spells to save her mother from cancer, and get her away from the family. In Lovecraft, magic and its practitioners are an active threat, using their occult powers to summon the ancient and immeasurably evil gods they worship, the Great Old Ones. This is a positive twist for the New Age/ Goth generations.

There’s a similar, positive view of the local squatter. In Lovecraft, the squatters are barely human White trash heading slowly back down the evolutionary ladder through poverty and inbreeding. The film’s squatter, Ezra, is a tech-savvy former electrician using solar power to live off-grid. But there’s another touch here which recalls another of Lovecraft’s classic stories. Investigating what may have become of Ezra, Ward and Pierce discover him motionless, possessed by the Color. However, he is speaking to them about the Color and the threat it presents from a tape recorder. This is similar to the voices of the disembodied human brains preserved in jars by the Fungi from Yuggoth, speaking through electronic apparatus in Lovecraft’s The Whisperer in Darkness. Visiting Ezra earlier in the film, Ward finds him listening intently to the aliens from the meteorite that now have taken up residence under the Earth. This also seems to be a touch taken from Lovecraft’s fiction, which means mysterious noises and cracking sounds from under the ground. Near the climax Ward catches a glimpse through an enraptured Lavinia of the alien, malign beauty of the Color’s homeworld, This follows the logic of the story, but also seems to hark back to the alien vistas glimpsed by the narrator in The Music of Erich Zann. And of course it wouldn’t be a Lovecraft movie without the appearance of the abhorred Necronomicon. It is not, however, the Olaus Wormius edition, but a modern paperback, used by Lavinia as she desperately invokes the supernatural for protection.

Fairy Tale and Ghost Story Elements

Other elements in the movie seem to come from other literary sources. The Color takes up residence in the farm’s well, from which it speaks to the younger son, Jack. Later, Benny, the elder son tries to climb down it in an attempt to rescue their dog, Sam, during which he is also blasted by the Color. When Ward asks Gardner what has happened to them all, he is simply told that they’re all present, except Benny, who lives in the well now. This episode is similar to the creepy atmosphere of children’s fairy tales, the ghost stories of M.R. James and Walter de la Mare’s poems, which feature ghostly entities tied to specific locales.

Oh yes, and there’s also a reference to Stanley’s own classic film, Hardware. When they enter Benny’s room, glimpsed on his wall is the phrase ‘No flesh shall be spared’. This is a quote from Mark’s Gospel, which was used as the opening text and slogan in the earlier movie.

The film is notable for its relatively slow start, taking care to introduce the characters and build up atmosphere. This is in stark contrast to the frenzied action in other, recent SF flicks, such as the J.J. Abram’s Star Trek reboots and Michael Bay’s Transformers. The Color first begins having its malign effects by driving the family slowly mad. Theresa accidentally cuts off the ends of her fingers slicing vegetables in the kitchen as she falls into a trance. Later on, Lavinia starts cutting herself as she performs her desperate ritual calling for protection. And Jack and later Gardner sit enraptured looking at the television, vacant except for snow behind which is just the hint of something. That seems to go back to Spielberg’s movie, Poltergeist, but it’s also somewhat like the hallucinatory scenes when the robot attacks the hero from behind a television, which shows fractal graphics, in Hardware.

Finally, the Color destroys the farm and its environs completely, blasting it and its human victims to ash. The film ends with Ward contemplating the new reservoir, hoping the waters will bury it all very deep. But even then, he will not drink its water.

Lovecraft and Racism

I really enjoyed the movie. I think it does an excellent job of preserving the tone and some of the characteristic motifs of Lovecraft’s work, while updating them for a modern audience. Despite his immense popularity, Lovecraft is a controversial figure because of his racism. There were objections last year or so to him being given an award at the Hugo’s by the very ostentatiously, sanctimoniously anti-racist. And a games company announced that they were going to release a series of games based on his Cthulhu mythos, but not drawing on any of his characters or stories because of this racism. Now the character of an artist does not necessarily invalidate their work, in the same way that the second best bed Shakespeare bequeathed to his wife doesn’t make Hamlet any the less a towering piece of English literature. But while Lovecraft was racist, he also had black friends and writing partners. His wife was Jewish, and at the end of his life he bitterly regretted his earlier racism. Also, when Lovecraft was writing in from the 1920s to the 1940s, American and western society in general was much more racist. This was the era of segregation and Jim Crow. It may be that Lovecraft actually wasn’t any more racist than any others. He was just more open about it. And it hasn’t stopped one of the internet movie companies producing Lovecraft Country, about a Black hero and his family during segregation encountering eldritch horrors from beyond.

I don’t know if Stanley’s adaptation will be to everyone’s taste, though the film does credit the H.P. Lovecraft Historical Society among the organisations and individuals who have rendered their assistance. If you’re interested, I recommend that you give it a look. I wanted to see it at the cinema, but this has been impossible due to the lockdown. It is, however, out on DVD released by Studio Canal. Stanley has also said that if this is a success, he intends to make an adaptation of Lovecraft’s The Dunwich Horror. I hope the film is, despite present circumstances, and we can look forward to that piece of classic horror coming to our screens. But this might be too much to expect, given the current crisis and the difficulties of filming while social distancing.

Radio 4 Programme on DNA and Art

Radio 4 are also broadcasting next week what looks like an interesting programme on art and poetry based on DNA science. It’s titled The Art of Now: Recombinant Rhymes and DNA Art. The blurb for it in next week’s Radio Times simply says

Anna McNamee meets the artists and poets collaborating with genetic scientists to create work inspired by biotechnology, examining the connection between DNA and art.

Some genetic engineers and biotech scientists have already used their skills to create works of art. Way back in the ’90s a group of such scientists created specially genetically engineered organisms. This included a cactus that had hairs instead of spines. Later on another pair of scientists created a jacket made out of living skin. I’m not sure whether these creations were art, or simply monsters created by people with twisted morals and a perverse aesthetic sense.

If you want to listen to it, the programme’s on at 11.30 am on Thursday, 2nd July 2020.