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Meat and Empire
The pig-raising factories of Smithfield Farms stretch from Mexico to Rumania and back to home sty in North Carolina, where swine flu first mutated. Viewing Earth from outer space an alien ecologist might conclude cows are the dominant species of our planet. Alexander Cockburn on the conquest landscapes of the meat-producers. Nanotechnologies, say their boosters, are changing the way people think about the future. They rush to buy nano-products. But how safe are they? Steven Higgs has a chastening message for us. And Senator James Abourezk concludes his vivid “Adventures in Indian Country”, with the story of the occupation of Wounded Knee. Yes, he was there and he was one scared senator. Get your new edition today by subscribing online or calling 1-800-840-3683 Contributions to CounterPunch are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! CounterPunch books and gear make great presents.
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Today's Stories May 15-17, 2009 Alexander Cockburn May 14, 2009 Michael Hudson Andy Worthington Paul Craig Roberts Jonathan Cook Ray McGovern Lance Selfa David Green Dave Lindorff Frida Berrigan Sue Udry Website of the Day May 13, 2009 Brian M. Downing Gareth Porter Robert Sandels Ricardo Alarcón Eric Walberg Dave Lindorff Deepak Tripathi William S. Lind Kevin Zeese Franklin Lamb Website of the Day May 12, 2009 Gary Leupp Richard Neville Wajahat Ali Dean Baker Franklin Lamb Norman Solomon Paul Craig Roberts Lisa M. Hamilton Bob Fitrakis / David Macaray Website of the Day May 11, 2009 Andrea Peacock Michael Hudson Patrick Cockburn Ralph Nader John Kelly Saul Landau Dave Lindorff David Michael Green Anthony Papa Paul Krassner Website of the Day May 8-10, 2009 Alexander Cockburn Jeffrey St. Clair Paul Wolf Steve Niva Neve Gordon Mike Whitney Warren Hinckle Serge Halimi Gareth Porter Sharon Smith Andy Worthington Mark Weisbrot Rosa Miriam Elizalde Cyber Command and Cyber Dissident: More of the Same? David Macaray Missy Beattie Ron Jacobs Diane Farsetta Ramzy Baroud Phelie Maguire Robert Fantina Kevin Zeese Margaret Flowers, MD Dave Lindorff Richard Rhames Ben Sonnenberg Kim Nicolini Stephen Martin Charles R. Larson David Yearsley Lorenzo Wolff Poets' Basement Website of the Weekend May 7, 2009 Paul Craig Roberts Chris Floyd Andy Worthington Alan Farago Ray McGovern Dave Lindorff Eric Toussaint / Ana M. Malinow, MD Jeff Armstrong Norman Solomon Website of the Day May 6, 2009 Doug Peacock Patrick Cockburn Richard Neville Manuel Garcia, Jr. Winslow T. Wheeler Deepak Tripathi Stephen Soldz Reuven Kaminer David Macaray Kevin Zeese Marjorie Cohn Coalition for an Ethical Psychology Website of the Day
May 5, 2009 William Blum Uri Avnery Steven Higgs Dean Baker Daniel Wolff Sibel Edmonds Carole King Klein Fidel Castro Belén Fernández Dan Bacher Website of the Day May 4, 2009 James G. Abourezk Jeff Leys Patrick Cockburn Andy Worthington Jaime Avilés David Swanson Paul Craig Roberts P. Sainath Eugenia Tsao Benjamin Dangl Sami Al-Arian Website of the Day May 1 - 3, 2009 Alexander Cockburn Gary Leupp Peter Linebaugh Jeffrey St. Clair / C. G. Estabrook Patrick Cockburn Mike Whitney Pierre Sprey / Andy Worthington Mairead Maguire Nadia Hijab Diane Farsetta Michael Calderón-Zaks Richard Rhames Russell Mokhiber Ramzy Baroud Rannie Amiri Deb Reich Steven Higgs Brian Cloughley David Michael Green Farzana Versey Jim Goodman Carl Finamore Christopher Brauchli Susie Day David Yearsley Lorenzo Wolff Peter Stone Brown Poets' Basement Dominguez, Orloski and Springate Website of the Weekend April 30, 2009 Ellen Cantarow Dana L. Cloud Paul W. Lovinger / Binoy Kampmark Brian Downing Frank Snepp David Swanson Conn Hallinan Ron Jacobs John Goekler Jasmine L. Tyler / Website of the Day April 29, 2009 Joann Wypijewski Patrick Cockburn Andy Worthington Chris Floyd Dave Lindorff Jeremy Scahill Doug Henwood Michael Hudson Russell Mokhiber Eric Toussaint Website of the Day April 28, 2009 Uri Avnery Jeremy Scahill Dean Baker Michael D. Yates Conn Hallinan John Stauber Tom Barry Harvey Wasserman Jeff Nygaard Frederico Fuentes Website of the Day April 27, 2009 Pam Martens Patrick Cockburn Andrew J. Bacevich Guardian of the Status Quo: Obama's Sins of Omission Mitu Sengupta Franklin Lamb Firmin DeBrabander Dave Lindorff Russell Mokhiber Mike Whitney Mark Weisbrot Rev. José M. Tirado Website of the Day April 24-26, 2009 Alexander Cockburn Marjorie Cohn Andy Worthington Jeremy Scahill Chris Floyd Mike Whitney Anthony DiMaggio Chris Kromm Saul Landau Dave Lindorff Greg Moses Joshua Frank Fred Gardner Manuel Garcia, Jr. David Michael Green Ramzy Baroud Rannie Amiri Laura Carlsen Richard Morse Nikolas Kozloff Kent Peterson Robert Bryce Niranjan Ramakrishnan The Financial Experts Ron Jacobs Richard Rhames Stephen Martin David Yearsley Poets' Basement Website of the Weekend April 23, 2009 Eamonn Fingleton Ray McGovern Michael Ratner Alan Farago Rob Larson Nadia Hijab Fawzia Afzal-Khan Dave Lindorff Helen Redmond Adam Federman Website of the Day April 22, 2009 Chris Floyd Joanne Mariner Vijay Prashad Gareth Porter Dean Baker Peter Morici Winslow T. Wheeler Barucha Calamity Peller Harvey Wasserman Aisha Brown / Teo Ballvé Website of the Day April 21, 2009 Randy Rowland Dave Lindorff Fidel Castro George McGovern Greg Moses Benjamin Dangl Sonia Nettnin Frank Barat Binoy Kampmark John V. Walsh David Macaray Website of the Day April 20, 2009 Mike Whitney Andrea Peacock Henry A. Giroux Liaquat Ali Khan Fred Gardner Stephen Soldz Nadia Hijab Dave Lindorff P. Sainath Nelson P Valdés Mark Engler Belén Fernández Website of the Day
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May 15-17, 2009 Why Caryl Churchill's Play is Not Anti-SemiticWhat to Tell the ChildrenBy HANNAH WOLFE Accusations of "anti-Semitism" have long been the knee-jerk response by Zionists to critics of Israel. And woe unto the Jew who dares to criticize; they are clearly a self-hating masochist. This is playing out once again in the barrage of vituperative criticism hurled at Caryl Churchill's Seven Jewish Children: A Play for Gaza, a "minor playlet" as one detractor called it, penned and staged in response to Israel's most recent brutal massacre in Gaza. "Operation Cast Lead," Israel's carefully calculated and long-planned 22-day December 2008/January 2009 attack on Gaza, resulted in the deaths of 1,300 Gazans, the majority unarmed civilians, and left communities in shambles. A major playwright in the tradition of Bertolt Brecht and Samuel Beckett, Churchill has won several awards, including the Obie Sustained Achievement Award in 2001. She worked with the radical theater companies Joint Stock and Monstrous Regiment during the 1970s and '80s, during which time she produced some of her best-known plays (Cloud Nine, Top Girls and Serious Money). In 2001, a performance of her play Far Away, supported by the Royal Court, raised funds for two Palestinian theaters. Churchill has long been an outspoken feminist, anti-imperialist and member of the Palestinian Solidarity Campaign. Seven Jewish Children was by no means her first foray into political theater. Written in seven short poetic sequences, each section of the play is set in a key period of the last 61 years of Israel's occupation of Palestine, and each consists of adults debating what to "tell her" (a Jewish child who is either asleep, elsewhere or maybe listening outside the door) about what is going on. Most of the litany of lines begins with "tell her" or "don't tell her." The play/poem is seven pages long, and takes about 10 minutes to perform. The text includes enough specifics to make the time and place clear, yet is general enough that the current plight of Palestinians conjures the plight of Jews in the past, and vice versa. The voices express familiar and universal debates that parents and other adults have about what to tell children: protect them from the truth; tell them a white lie; give them some portion of the truth; no, they need to know it all. The subtext of course is what the adults think about the events, which erupts in the final and most controversial sequence. The language is simple, yet laden with the double and triple negatives that hypocrisy and conflict generate: "Don't tell her she can't play with the children." As Tony Kushner and Alisa Solomon point out in their gorgeous review in the April 13 issue of the Nation, it is
Kushner and Solomon explain the nature of criticism from Zionist and liberal quarters: "The power of art to open us up to the subjectivities of others is especially threatening to those who insist on a single narrative." Referring to the squelching of Palestinian voices in arts/media, they are "grimly determined to maintain the invisibility of others." Further, the brevity and apparent simplicity of the play are an "implicit rejection of the idea that the situation in the Middle East is too complicated...to be explored at anything other than great length." The lightning rod for criticism comes toward the end, the culmination of the only lengthy prose outburst in the piece set, we presume, during the current onslaught:
There the play ends. * * * CHURCHILL IS accused of giving new life to the medieval "blood libel," the myth that Jews relish drinking the blood of non-Jewish children. Theaters and actors performing the play have come under attack; two retaliatory Zionist "playlets" have already been written and performed. Seven Other Children by British playwright Richard Stirling purports to show, in the words of the playwright, "the tragedy of the Palestinian child as a victim of a distorted education about Israel." What Strong Fences Make, by New York playwright Israel Horovitz, is set at an Israel Defense Forces checkpoint outside Ramallah. Countering Churchill's request for collections for Gazan children, Horovitz has requested money at performances go to aid children wounded in attacks on Israel. Seven Jewish Children is a tribute to the power of political theater to humanize, and to provoke discussion and debate. In one particularly bizarre published dialogue in the Atlantic between Jeffrey Goldberg and Ari Roth, who produced the Seven Jewish Children at the "pro-peace" Zionist Theatre J, Goldberg states: "I don't want to treat this as a serious piece of art worthy of argument." He goes on at length about the "complexity" of the Israel/Palestine situation, and how the "playlet" is "gross" in its oversimplification, "agitprop" and "polemic" at its worst. Churchill is a "smug playwright with pronounced animus toward Israel writing this drive-by polemic that's meant to demonize the Jewish state." He accuses Churchill of "seduction" of the reader with her "shrewd" writing. Roth concludes that it is "unfortunately" well-written. One can't help but feel that he's suggesting that Churchill has lured the hapless masochistic Jew unwittingly to founder on the rocky shoals of anti-Semitism and perpetuation of the "blood libel" myth. It is worth quoting Churchill at length as she defends the play, and herself:
And as for the "blood libel" accusations, she responds:
* * * AS THE Jewish parent of an 8-year-old, I imagine the "Seven Children" to be about the age of my own son--old enough to understand, but young enough that there are things you don't want them to have to understand. The play strikes the perfect chord of tension every parent experiences, shifting with events around us and of course with the child's age: how much do I tell them? How do I tell them? How do I protect them? How do I tell them enough to protect themselves? This, as well as the moment of anger that often comes when you see your child has been threatened. Anger toward others, oneself and even the child. This is what seems to me to be the context of the penultimate "explosion." The title of the play and its contents evoke a fairy tale. But this isn't the modern kind with a happy ending; rather the old Grimm Brothers' grisly morality tale that usually end with children eaten or transformed into gruesome creatures because they didn't do their parents' bidding. And, more importantly, it is real. Horrifyingly real. Seven Jewish Children drives home that the Zionist colonial settler state can only be justified by the perpetration of the most venal form of racism, and demonstrates at the micro-level how this is achieved in the messages parents give their children: "Tell her they they're animals living in rubble now; Tell her I wouldn't care if we wiped them out." The play is about how the founding of Israel seemed a fairy tale--the Promised Land, the Land of Milk and Honey--but was based on racist lies. As Kushner writes, "The last line of the monologue is clearly a warning: you can't protect your children by being indifferent to the children of others." I would add, just as horrifying and damaging to a child as seeing other children killed, is witnessing their parents' indifference. Hannah Wolfe writes for the Socialist Worker. |
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