Golden Dawn, the far-Right fascist party in Greece continues to grow in popularity and violence, according to the Wall Street Journal. Last week the Journal reports:
In a rundown, immigrant-filled neighborhood here, Ilias Panagiotaros, a member of Parliament from Greece's far-right Golden Dawn party, used a megaphone Friday night to exhort an angry crowd to "fight against foreign invaders."
A family watching from a second-floor balcony scrambled for cover as demonstrators hurled bottles and stones at them. "We're going to spill your blood, you Albanian pigs," a man in the flag-waving throng screamed.
Hundreds of protesters marched through the narrow streets—some spraying nationalist graffiti on building facades, others shouting obscene taunts at immigrants. Mr. Panagiotaros, a heavyset man with a shaved head, led them in a resounding chant: "Foreigners out. Greece for the Greeks."
Now this weekend the Washington Post has a follow up (as Walter Russell Mead writes). The Post describes a Greek army surplus store that proudly displays a sticker that carries a favorite party slogan: “Get the Stench out of Greece.” The Post continues:
By “stench,” the Golden Dawn — which won its first-ever seats in the Greek Parliament this spring and whose popularity has soared ever since — means immigrants, broadly defined as anyone not of Greek ancestry. In the country at the epicenter of Europe’s debt crisis, and where poverty and unemployment are spiking, the surplus shop doubles as one of the party’s dozens of new “help bureaus.” Hundreds of calls a day come in from desperate families seeking food, clothing and jobs, all of which the Golden Dawn is endeavoring to provide, with one major caveat: for Greeks only.
Attacks have not stopped at foreigners. One Golden Dawn legislator slapped a left-wing female politician on national television. Party supporters have attempted to shut down performances of progressive theater. Activists see the party’s hand behind three recent beatings of gay men. The Golden Dawn has also begun engaging left-wing anarchy groups in street battles — more evidence, observers say, of a societal breakdown that some here fear could slide into a civil war if Greece is forced out of the euro and into an even deeper crisis.
But perhaps more worrisome, critics say, are signs that the Golden Dawn is establishing itself as an alternative authority in a country crippled by the harsh austerity imposed by its international lenders. It has set up its own “pure” blood bank, providing and accepting donations to and from Greeks only, in a nation of 11 million that is also home to roughly 1.5 million refugees and migrants, many of them from the Middle East, South Asia and Africa. As the party attempts to place a swelling number of unemployed in jobs, its officials say they have persuaded a major restaurant chain to begin replacing immigrants with Greek workers.
The Arendt Center is keeping a close eye on Golden Dawn. The increasing popularity of the party in Greece, which currently polls at over 20% of the Greek population, is a reminder that real economic crises rarely limit themselves to economic upheaval. Many names and words will be bandied about in and with regard to Greece. People will talk about fascism, racism, and totalitarianism. The point is to keep our eyes open to what is happening, which at this point is ugly political nativism along with racialized violence that is gaining enough popular appeal so that it is not being confronted and stopped by legal authorities. It is partly a result of racism, but also a consequence of the utter loss of power and legitimacy on behalf of the Greek elite and the Greek government that has abandoned Greek self-rule to a technocratic European elite. When people feel totally helpless and out of control, as Greeks do today, they will unfortunately seek out scapegoats and victims. The last thing they want to admit is that it is the Greek people themselves and their leaders who are to blame for their predicament.
One key step in any move towards totalitarianism is the erasure of legal citizenship or legal protections for a defined minority. Legal and illegal immigrants are already vulnerable groups even in good times. The danger is that immigrants lose even the basic legal protections and rights that they currently have and, once they do, become superfluous people, the kind of people who simply can be rounded up, imprisoned, expelled, or killed without any legal notice or response—or even according to the law. That of course is not happening in Greece. Let's hope it does not.
"It is true that storytelling reveals meaning without committing the error of defining it, that it brings about consent and reconciliation with things as they really are, and that we may even trust it to contain eventually by implication that last word which we expect from the Day of Judgment”.
- Hannah Arendt, “Isak Dinesen: 1885 – 1963” in Men in Dark Times
According to Arendt, it is through action – and all action is but acts of speech – that human beings disclose themselves in their whoness rather than merely on the basis of their whatness. Her indebtedness for storytelling comes from a two-fold source: The Greek world on the one hand - the poets and the historians, and on the other the writings of Isak Dinesen.
Arendt devoted no theoretical effort to pass Dinesen under the lens of theory, other than some occasional mention and a literary profile in the book that Auden called her most German book – because of the form of epic legends in which the stories of the anti-heroes, under the shadow of dark times, are told.
Herself a talented storyteller, her books can be read better against this background of storytelling than on theoretical impetus; this is not because Arendt wasn’t a vehement defender of the life of the mind but because of her insight about the inability of intellectual traditions and history to understand and comprehend the events of her century.
Her reading of Dinesen conforms to the difficulties of understanding Totalitarianism. Spanish philosopher Fina Birulés puts in the following words: “While storytelling does not solve any problem and does not master anything forever, it adds yet another element in the repertory of the world, it is a way for human beings to leave a lasting presence in the world, not as species, but as a plurality of who’s”.
The relationship between storytelling and reconciliation is laid out by Arendt through Dinesen: “The reward of storytelling is to be able to let go: “When the storyteller is loyal to the story, there, in the end, silence will speak. Where the story has been betrayed, silence is but emptiness. But we, the faithful, when we have spoken our last word, will hear the voice of silence”. To let go is an act of reconciliation.
Arendt writes the story of this anxiety and melancholy of her own through Dinesen: “That grief of having lost her life and lover in Africa should have made her a writer and given her a sort of second life was best understood as a joke, and “God loves a joke” became her maxim in the latter part of her life”.
Agnes Heller writes that Arendt knows in advance what it is that she wants to find in her storytelling, in spite of – often – finding something unexpected.
Dinesen becomes a reflection of mirrors for Arendt who in writing about Dinesen’s own storytelling that seems artificial and blurs the distinction between truth and fiction, finds the detachment necessary to comprehend the world, temporarily: “To become an artist also needs time and a certain detachment from the heavy, intoxicating business of sheer living that, perhaps, only the born artist can manage in the midst of living.”
The flight into imaginary worlds at the hand of Dinesen’s pen isn’t simply a performance and re-enactment of the Gothic – as is for example William Beckford’s “Vathek” – but rather a coming to terms with the present by telling a story about its burdens.
It is nothing but an anchoring on the present at a time when the foundation of the present itself – the past – seems irrevocably lost. A similar example of storytelling through mirrors would be, for example, Susan Sontag’s review of Anna Banti’s “Artemisia” for The London Review of Books in 2003.
“Artemisia” is a novel written late in the Second World War about the life of Artemisia Gentilenschi, a 17th century Italian painter: Banti, trained as an art historian, is meticulously careful about her treatment of sources on Gentilenschi’s life and writes in what Sontag calls “a double destiny”; according to her, Anna Banti does not find herself in Artemisia and is careful enough to write in the detachment of the third person, only available to the truly committed storyteller in a game of hide and seek: “We are playing a chasing game, Artemisia and I”.
More than a biography or a historical novel, Artemisia is a deeply emotional but sober and detached portrait of a woman in the early 17th century, tainted by the scandal of a rape that disgraced her family and haunted no more by her total commitment to art, than by the immense loneliness of living as an artist in a male-dominated world – but told with more grace than resentment.
The story about Banti and Artemisia that Sontag is telling is one of permanent displacement and loss; not only because of the female story being told but because the original novel was lost under the ruins of Banti’s house in Borgo San Jacopo when the mines detonated by the Germans wrecked the houses near the river, including hers.
Without knowing as much, Susan Sontag is writing about Banti in the same way that Arendt is writing about Dinesen: Behind a story of loss and womanhood, there is an affirmative and rather reckless anchoring in the present – in Sontag’s case, the world after Totalitarianism: The Cold War, Iraq, Afghanistan, 9/11 and Abu Ghraib. It is against this background that she is writing about a “phoenix of a novel”, which is in itself a testimony to Sontag’s own work.
What both writers learnt from their own writers is a bitter lesson in contemporary history, as eloquently put by Arendt about Dinesen:
Thus, the earlier part of her life had taught her that, while you can tell stories or write poems about life, you cannot make life poetic, live it as though it were a work of art (as Goethe had done) or use it for the realization of an “idea”. Life might contain the “essence” (what else could?); recollection, the repetition in imagination, may decipher the essence and deliver to you the “elixir”; and eventually you may even be privileged to “make” something out of it, “to compound the story”. But life itself is neither essence nor elixir, and if you treat it as such it will only play its tricks on you.
When Lebanese writer Mira Baz left Yemen in 2011, in the course of the revolution and just before the deadly “Friday of Dignity” massacre, after nearly a decade teaching and writing in the mysterious land – similar to Dinesen’s Africa seen through Arendt and Banti’s Florence seen through Sontag, a sort of paradise lost and not without heavy taxes levied by the status of paradise, she was to become displaced and would turn her poetic travelogue of Yemen into a vast vault of memory.
In March 2012 she wrote – exactly a year after the massacre – about the experience of the displacement, invoking the following lines from Dinesen:
“If I know a song of Africa,
Of the giraffe and the African new moon lying on her back,
Of the plows in the field and the sweaty faces of the coffee pickers,
Does Africa know a song of me?”
After which she writes:
The house and the garden had quickly become my home, where in the mornings I fed my regular guests Bulbuls and Serins, and found serenity when, through watching them, I meditated on existence, on cycles, on life, on everything and nothingness. Out there was Yemen. Within the garden walls, and all the walls, was me, inside my head.
Through reading and writing, life cannot be changed, but it can be made understandable and livable, after the same fashion of John Updike when he described the prose of Bruno Schulz: “The harrowing effect of Schulz’ prose is to construct the world anew, as from fragments that exist after some unnamable disaster”. The disaster is always the turbulence of history and the unnamable is the loss, but here storytelling becomes a privilege, a sign of truth, and the burden of a presence – entering the world once again, even if it had been lost once.
Fina Birulés concludes her timely meditation on Arendt and Dinesen: “The political function of the narrator – historian or novelist – is to teach the acceptance of things as they are. From this acceptance, that might be called as well veracity, is born the faculty of judgment, by means of which, in words of Isak Dinesen, in the end we will have the privilege to see and to see again, and that is what is called Day of Judgment.”
“It is the function…of all action…to interrupt what otherwise would have proceeded automatically and therefore predictably.”
-Hannah Arendt, On Violence
Writing at a time when she perceived and worried about an increase in support for violence as a means to right wrongs on behalf of the dispossessed, Arendt wrote On Violence. In it, she argued for a clear distinction between violence and power. To Arendt, power was the “human ability to act in concert” and “it belongs to a group” and continues to exist “only as long as the group keeps together.” Rule by violence signals the absence of power. In its fullest expression such rule is sustained by terror, which depends upon social atomization, or the isolation of people from one another, to achieve domination. How can such rule be undone? Will violence be required to undo violence?
After fourteen years of civil war in her native Liberia, Leymah Gbowee had had enough conflict and violence. Helping mobilize a group of women across ethnic and religious divides, she rallied them to participate in actions of civil disobedience aimed to bring the brutal dictatorship of Charles Taylor to an end. Thousands of women descended on the capital city of Monravia, putting themselves between the Taylor government and rebel leaders. When peace talks stalled they barricaded the site of negotiations until a deal was settled. The tactics the women deployed are a clear illustration of Arendt’s concept of power. Fasting, praying, and protesting together, they demonstrated that power grows not out of the barrel of a gun but through concerted action.
In her book, Mighty Be Our Powers: How Sisterhood, Prayer, and Sex Changed a Nation at War, Gbowee described the moment when the women appeared at city hall to bring their demands for peace to the warring sides: “In the past, we were silent,” I told the crowd. “But after being killed, raped, dehumanized and infected with diseases, and watching our children and families destroyed, war has taught us that the future lies in saying no to violence and yes to peace! We will not relent until peace prevails!” The women erupted. “Peace! Peace!”
Where the rebels had failed to oust Taylor, Gbowee’s protests succeeded. Because she brought an end to the long war in Liberia and helped secure women’s participation in open elections that brought Ellen Johnson Sirleaf to power, Africa’s first democratically elected woman president, Gbowee was awarded the Nobel Peace Prize, an honor she shared with Sirleaf, and Tawakul Karman of Yemen. The Nobel committee recognized the non-violent actions of all three women, who struggled for women’s rights and demonstrated the importance of women’s involvement in peace movements. Gbowee’s actions were featured in Pray the Devil Back to Hell, the second of five films in the PBS series, Women, War, and Peace.
Arendt did not take an absolutist stand against violence. She acknowledged that sometimes violence was needed to “dramatize grievances and bring them to public attention.” But she cautioned that even the use of violence to achieve short term goals was dangerous. The danger lay in the ever-present possibility that the means of violence would “overwhelm the end” and become the end itself. Gbowee’s statement that her experience of war had taught her that a future was possible only by saying no to violence expresses the Arendtian principle that only action can interrupt “what otherwise would have proceeded automatically.” And even if Arendt’s worry that the capacity for action was fragile and threatened in particular by the conditions of the modern age, we need to keep such stories as those of the women of Liberia central in our imagination as reminders that power is the opposite of violence.