Author Archives: Michael Happy

Julian Assange

Julian Assange in custody in London

Like a lot of people, I’m still trying to stake out a reasonably informed position regarding Julian Assange.  That’s difficult.  What is not so difficult, however, is to be repulsed by the vast and co-ordinated effort to destroy Assange and WikiLeaks by extra-judicial means — including death threats from people whose word carries weight.

And now there’s the Swedish “rape” charge against Assange, which emerges at a conspicuously opportune time for his antagonists.  There are at least two issues to consider here.  First, the “rape” in this instance evidently turns upon an implied withdrawal of consent due to a broken condom.  The senior local prosecutor reviewed the matter back in August and dismissed the possibility of charges.  She, in fact, said at the time, “I don’t think there is reason to suspect that he has committed rape.”  That’s pretty unequivocal, and it comes from someone whose duty is to prosecute wherever there is sufficient evidence to do so.

By the begining of September, however, Sweden’s state prosecutor had overruled the finding of the local prosecutor and re-opened the investigation which eventually led to the charges Assange now faces. It is difficult to deny that the laying of these charges at the same time as Assange’s release of American diplomatic cables is an astonishingly convenient coincidence.  Assange need never be convicted of any crime to bear the stigma of those charges for the rest of his life.  The very fact of the charges will likely be enough to compromise his credibility.  If death threats were acceptable two weeks ago, then character assassination seems a sound enough alternative this week.

It would be unwise to insist on partisan grounds that Assange is not guilty simply because greater powers have a demonstrable motive and sufficient means to bring him down.  But it is still required as a matter of law that his innocence be presumed and that the authorities prove their case against him beyond a reasonable doubt.  Unfortunately, it doesn’t take much study into the behavior of prosecutors in high profile cases to know that they are occasionally willing to fix the game wherever it needs to be fixed.  Even the least attentive of us has some notion that innocent people can be ground up by a justice system that is sometimes driven by the pursuit of political or personal gain rather than by the pursuit of justice.  And whenever a higher authority unnecessarily intrudes upon a lesser one on a matter already in hand, as appears to have happened with the rape investigation, it is usually a sign that someone’s agenda has come into play.  There seem to be few genuine coincidences when the game is played this rough for stakes this high.  Both the timing and the disposition of the charges against Assange betray too many coincidences for comfort.

Stalin

httpv://www.youtube.com/watch?v=bM4zhzuEG4g&feature=related

From an obscure but powerful post-Soviet film, The ChekistEven though this clip is in Russian without subtitles, it is worth watching.  It captures the murderous claustrophobia of Stalinism where assembly-line executions were ordered up by bureaucrats with quotas to fill.

Today is Joseph Stalin‘s birthday (1878-1953).

Frye in the “Conclusion to the Second Edition of Literary History of Canada“:

I remember the thirties, when so many “intellectuals” were trying to rationalize or ignore the Stalin massacres or whatever such horrors did not fit their categories, and thinking even then that part of their infantalism was in being men of print: they saw only lines of type on a page, not lines of prisoners shuffling off to death camps.  (CW 12, 460)

Thomas Chandler Haliburton

Today is Thomas C. Haliburton‘s birthday (1796-1865).

Frye in “Haliburton: Mask and Ego”:

Haliburton would never have called himself a Canadian.  He was a Nova Scotian, a Bluenose, and died two years before Confederation.  He was born and brought up in Windsor, and represented Annapolis in the legislature.  There he did good work in fighting the Family Compact, and became the friend of an every more brilliant man than himself, Joseph Howe.  It was in Howe’s paper that he began the series of sketches later know as The Clockmaker: the sayings and doings of Sam Slick of Slickville, Onion County, Connecticut.  The Sam Slick books extend from 1835 to 1860, there are eight of them, and they take in nearly everything Haliburton wrote that we still read, except for some sketches of Nova Scotia called The Old Judge.

After his first skirmishes as a Liberal, Haliburton became a judge, a judge like the one in Stephen Leacock’s Sunshine Sketches, who says he has no politics because he’s on the bench, but — and then we get a belligerent Tory speech.  To call Haliburton a Tory would be an understatement.  He fought responsible government; he fought the Durham Report, and until toward the end of his life he fought Confederation.  He didn’t want Great Britain either to give Nova Scotia self-government or run it from London; but to appoint Nova Scotians to the government.  In other words, he wanted patronage on a grand scale.  As for the kind of person who should be appointed — well, there are several hints, sometimes not very subtle hints, about one in particular who has deserved well of his country. (CW 12, 316-17)

Jane Austen

httpv://www.youtube.com/watch?v=xKy_SJWTEIk

The happy ending of Mansfield Park

Today is  Jane Austen‘s birthday (1775-1817).

Here’s Frye reminding us that the prevailing concerns of literature are the surest source of our desire for a more equitable world.

The Fanny Price of Jane Austen’s Mansfield Park also has a double social identity, being a poor relation brought up in a wealthy home.  She has, in typical heroine fashion, decided on her cousin, Edmund Bertram, but she has to cope with a most flattering proposal favoured by everybody except her.  Fanny appears to be a humble, acquiescent, even passive young woman, but while she blushes and weeps and agonizes and is overwhelmed with confusion, she is also directed by a steely inflexible will that is determined to have Edmund or nobody.  As her guardian Sir Thomas Bertram says, with the exasperation of a man who discovers that his society is less male-dominated than he had been assuming: “But you have now shewn me that you can be wilful and perverse, that you can and will decide for yourself.”

Fanny clearly has Jane Austen’s own sympathy, as is obvious from the way the story is worked out.  At the same time it is also clear that the kind of authority Sir Thomas represents seems to Jane Austen a right and natural authority.  It is not that Jane Austen is a woman novelist expressing a woman’s resistance to social conditions governing the place of women in her time.  She accepts whose conditions, on the whole: it is the romantic convention she is using that expresses the resistance.  This principle that an element of social protest is inherent in romance is one that we can only suggest now, and will return to later.  Meanwhile we may note that in Emma the hero has a moral ascendancy over the heroine which is fully justified by his greater maturity and common sense.  Yet what actually happens at the end of the book is that the heroine takes on a matriarchal role, and compels him to move from his house into hers, in order not to disturb her father’s dedication to inertia.  (CW 18, 51-2)

Emily Carr

“Haida Totems”

Today is Emily Carr‘s birthday (1871-1945).

Frye was deeply interested in painting, and as a young reviewer seemed to have little patience for sniffy art criticism.  See, for example, his 1939 Canadian Forum review, “Canadian Art in London,” which begins with an observation so dry that any hint of condescension would be immediately desiccated: “The Canadian Exhibition at the Tate Gallery was opened by a somewhat puzzled Duke of Kent, who said, according to the Times, that Canadian painting was very interesting, and that the really interesting thing about this exhibition was that it gave the English a chance to see this painting” (CW 12, 7).

Frye clearly enjoyed reviewing Canadian artists — not necessarily because he had any sort of patriotic bias, but because (knowing that all of the arts have deep roots in their native environment) he shared with them a Canadian experience that allowed him to see past the imperial prejudices of self-congratulatory more advanced tastes.

Here he is in the Christmas 1948 issue of Canadian Art, “The Pursuit of Form”:

Most painters choose a certain genre of painting, which in Canada is generally landscape, and commit themselves to the genius of that genre.  Their growth as painters is thus a growth in sensitive receptivity.  In comparing early and late work of a typical landscape painter, such as Arthur Lismer, once can see a steady increase in the power of articulating what he sees.  The early work generalizes colour and abstract form; the late work brings out every possible detail of colour contrast and formal relationship with an almost primitive intensity.  Emily Carr seems to go in the opposite direction, from the conventional to the conventionalized, from faithful detail to an equally intense abstraction.  Yet there too the same growth in receptivity has taken place, the same power to express all the pictorial reality that she sees.  (CW 12, 85)

Frank Sinatra

httpv://www.youtube.com/watch?v=_CiizL8Vfu8

“Moonlight in Vermont” live with the Nelson Riddle Orchestra

Today is Frank Sinatra‘s birthday (1915-1998).  No, Frye had nothing to say about Frank Sinatra.  But today is Frank Sinatra’s birthday.

(An early Merry Christmas to you, Joe.)