Cross cultural non-communication

‘We will always choose perfection over politeness.’ That, a German friend explained, is why a stranger sitting at the next table outside on a glorious spring afternoon got up, came over to me, took my cutlery and started to demonstrate how to deal with a Weißwurst. The skin must not be eaten. It must be surgically removed. The man assumed I spoke no German, though I was asking him, in German, why I could not eat the skin. He did not answer. His first incision was ragged; the skin did not peel away. The second was more successful. Satisfied, he had conveyed the lesson, he returned my knife and fork and resumed his seat.

Not knowing that I should only order these white minced pork and veal sausages, with sweet mustard and a pretzel before midday, I had done so at two in the afternoon: a light meal to keep me going after the long flight from Australia. I had started cutting the first of my sausages into pieces, offering a morsel to my companion to taste. Neither of us suffered from this first mouthful of white sausage eaten after midday with the skin on. Modern sanitation practices should have rendered the rule that no Weißwust hear the noon chime of the church bells obsolete. But traditions remain strong in Germany: there is a right and wrong way to do many things.

While the big guy from Bavaria – when he went to the bathroom his wife, in trademark German socks and sandals, sort of apologised for her husband’s intrusion and told me they came from Bavaria – felt no compunction instructing me in the art of sausage eating, it’s more usual for Germans to keep their distance. That we soon discovered when we, two Antipodeans, joined eleven domestic tourists in Leipzig. We were to be together for three days, discovering the city of Wagner’s youth in the day and attending his Ring Cycle in the evening.

Standing outside the designated building for our first encounter, I blundered in. A roly-poly, happy man from Frankfurt approached us, thinking we may be part of the Ring group. Yes, I said, proffered our names and asked for his. Roland was the only person to tell us his name. We spent the rest of the trip on no-name terms with our fellow Wagner fans. An architect from Berlin with a shiny bald pate and hip round-rimmed glasses – he had at least two pairs, one with bold red frames, the other tortoiseshell – exchanged a few jokes with us and showed us dozens of pictures of his house. His wife sported very shiny Egyptian-blue hair, short at the back with shaved zig-zags patterns. She wore only black and white clothes, usually with something polka-dotted. Avant-garde in appearance perhaps but both were as German as they come. When our guide — he didn’t introduce himself either – arrived, the first think Mr Goggles did was point out to the guide that his shoelace was undone. Perfection not politeness.

Six degrees of separation: where the files can take you

Rose Holley Special Collections Curator watches as Francesca Beddie opens the new Special Collections Repository

There’s a great sense of satisfaction when you come across the needle you have been looking for in a haystack of files. For me, the greater thrill is the unexpected gem that leads down new tracks and expands the horizons of the picture you are trying to put together.

More often than not, those leads prove the rule of six degrees of separation. The track that brought me to have the honour to cut the ribbon at the opening of a new repository the University of NSW Canberra.

In 1970, my father, Brian Beddie, left the ANU to take up the Foundation Chair in Government at the University of New South Wales at Duntroon. He retired in 1984 just before the new campus was opened. He used to quip that he’d spent his whole life in huts, first at Childers Street at the ANU and here in a row of green sheds on the ridge.

Last year I received an email from Paul Dalgleish Special Collections Archivist at the Australian Defence Force Academy Library about a set of papers the library had found – documents my father had amassed for various writing projects and lectures. Would I release these to the archive? I didn’t need even to see them to say yes but I did come to Canberra, where I met a tremendous team. We talked for much longer than either side had anticipated. Rose Holley, Special Collections Curator at the library, enthused about her plans for a new archival space.

Rarely does one hear these days of an expansion in library storage. Indeed, when my father died in 1994, we couldn’t find a library in Australia willing to take all the books he had collected on Max Weber. We mentioned this to Hans Brunn, who had been a young scholar Brian became friendly with at the Max Planck Institute in Munich in 1968. Hans was by 1994 a senior Danish diplomat –  his and my paths had crossed again during the heady days of Baltic independence in the early 1990s. He found a solution. The books became part of the shipment of belongings of someone returning to Denmark from the Danish embassy in Canberra. From Copenhagen the books were sent to Riga, where the university was hungry for tomes to supplement its Marxist-Leninist collections.

Paul’s partner is Russian — another connection, made stronger by the fact that a few years after my father’s death I found myself here on this campus doing a research master’s on the missing bourgeoisie of early 20th century Russia. This came about thanks to an introduction by a school friend to an academic working here at the time. Her topic was, remarkably, late Russian imperial taxation systems. Who would have thought such paths would cross at a defence academy in Canberra!

Back to that first meeting with Rose, Paul, Annette McGuiness (UNSW Canberra Librarian) and Peter Stanley (research professor in history at Australian Centre for the Study of Armed Conflict and Society). As we spoke about the plans for the archive, I grabbed my chance to tell them about the boxes my partner, Peter Rodgers, and I had stored for over a decade. These were the papers of Peter Hastings, one of the most prominent journalists of his era, my father’s closest friend and Peter’s mentor at the Sydney Morning Herald. Peter had taken the files after Hastings’ death — he had a great book proposal to honour Hastings and his connections with PNG and Indonesia but could not find a publisher. So the boxes stayed untouched and unsorted.

I thought if my father’s set of papers qualified for the collection, so would Hastings’. But Rose made it clear I would first have to demonstrate that the papers were interesting enough and in an acceptable condition to be handed over. The archive was a mess but I found enough to prove their significance. Paul has found more gold for the researchers who will soon have access the documents now in miraculous order.

As well as material relevant to Australia’s security, the UNSW Canberra Special Collections include many literary files. Last week Nicole Moore (Associate Dean for Special Collections at UNSW Canberra)  reminded me that the discipline of English has a long history here. In 1918, Leslie Allen became Professor of English at the Royal Military College at Duntroon. For those of you who know the ANU, Allen is one half, so to speak, of the Haydon/Allen building. Perhaps not surprisingly given the size of Canberra in the middle of last century, the connectivity continues. This track leads to the south coast of NSW. When my mother came to Canberra with Brian in the 1950s, she fell in love with the bush and the coast. She wanted a beach house and started combing the area around Batemans Bay. I gather my father was less enthralled but when he heard that Professor Haydon’s house at Broulee was for sale he mentioned it to her. She bought it and gave us and many others a wonderful haven. Professor Allen also holidayed at the coast, at Mossy Point across the bay from the headland where the Haydon house stood. The story goes that the two professors would sometimes finish their game of chess from their respective houses, signalling their moves using Morse code! Nicole has more to add to the seaside story: she can tell you about the logistics of getting books to Mossy Point for Allen to review when he was on the Literature Censorship Board.

Speaking of logistics, Rose told me she has become more knowledgeable than she ever expected to be about road and sea freight during this project, which has demanded precision measurements to ensure the compactuses and even their handles comply with the OH&S rules. She has suggested innovations to the company making the system – like the retractable handles — that will now be made available to other buyers.

ADFA and UNSW Canberra have come a long way from those green huts to having a state-of-the-art repository. What hasn’t changed is the spirit of inquiry that makes all those files so enticing. We are certainly very lucky that they are in such good hands.

[This is the speech Francesca Beddie made at the opening of the repository on 2 May 2018.]

Wanted: politicians who inspire and creative public policy

I watched Ken Loach’s film I, Daniel Blake again recently. Again, I cried. A sick bloke with talent and decency ends up dead before he can argue his case to be treated not as a client, customer, service user or national insurance number but as a citizen, no more no less. Surely our citizens can expect more from governments and public servants than mindless process and indifference. In the age of automation ought not compassion be precious? In the age of big data, shouldn’t it be easier to tailor public services to the individuals who pay, or have paid, taxes?

Worrying about this reminded me of an exchange I had with Donald Horne in 1996. Our letters were prompted by an allegation in Brisbane’s Courier-Mail that the historian Manning Clark had acted as a covert ‘agent of influence’ on behalf of the Soviet Union. There was no evidence to back the claims: fake news is not new. It was also the time of the first rise of Hansonism. I was angry that the Howard government was not standing up against ignorant racism and intolerance. Horne wrote back:

I keep having this fear that Australia (well – not Australia, but some bits of its public culture) will suddenly go mad, as the hidden rises to the surface – without the appropriate denunciations from the guardians.

Today, Horne might have concluded that the lunatics have taken over the asylum.

What has caused the malaise in our polity and how we might do things differently is the subject of a two-part essay published in Pearls and Irritations.

Why we have diplomatic language

For many years I have introduced new entrants to the diplomatic service to the archaic language of third person notes or notes verbales. Some are enchanted by the trappings of their new profession; others scornful of the use of phrases like:

‘avails itself of this opportunity to renew the assurances of its highest consideration’.

I explain this usage as part of the toolbox of diplomacy which, along with protocol, can serve to contain heated emotion and temper hostilities. These have been the tasks of diplomats before and since the French coined such elaborate phrases centuries ago.

Now, when the talk is of a new Cold War, Australia’s Foreign Minister – some people call her our chief diplomat – prefers the TV cameras to the conventions devised to maintain lines of communication even during times of heightened tension. On 28 March she gave the Russian Ambassador what the media calls her ‘death stare’. Logvinov seemed to take this in his stride. He has even appeared to relish his on-screen performances.

This tit for tat isn’t over. Russia’s Foreign Minister had already reacted to the expulsions by Western governments of Russian diplomats by saying that Moscow will not tolerate Western countries’ crassness. ‘Rest assured, we will respond’, Lavrov told the Russian news agency, TASS. ‘The reason is that no one would like to tolerate such obnoxiousness and we won’t either.’

These slanging matches are bad for international relations. If we start to call people out before we have the facts* and prefer to conduct the business of foreign policy in the public glare, we abandon the professional foundations from which to prosecute for peace not war. That’s serious stuff.

*For more on what we do or don’t yet know about the Skripal attack, see http://johnmenadue.com/scott-burchill-on-the-russian-gas-attack/

and

https://www.irishtimes.com/opinion/unlikely-that-vladimir-putin-behind-skripal-poisoning-1.3425736 

Image: the Russian ambassador, Grigory Logvinov, with the foreign affairs minister, Julie Bishop Photograph: Mike Bowers for the Guardian

Stories from the front: art reveals more than news about the ravages of war

Australia’s handling of the global refugee crisis confounds me. I cannot fathom how a nation of immigrants can be so manipulated by our politicians. They stir up artificial fears, pathetic fears when compared to the terror that compels people to flee their homes.

Facts and more facts about the horrors in Syria, the plight of the Rohingyas, the misery on Manus and Nauru can act as an anaesthetic. Art, on the other hand, can revive the senses.

That was my experience at Gardens Speak by Tania El Khoury, which I visited during the 2017 Adelaide Festival. Come with me to those gardens. First, enter the bleached forecourt of the tumble-down Queen’s Theatre, the oldest in the city. It appears abandoned. Is this the right place for the performance? A girl in the cool, dim foyer tells us someone will fetch us soon. Another willowy volunteer appears to lead us and ten others into a high-ceilinged barn of a building, alongside the theatre. As instructed, we take off our shoes, we put on disposable rain coats. What’s going on? We are handed a card with the name of someone who has died. It’s in Arabic. Our usher explains that Syrians bury their dead quickly. In wartime, it can be impossible to get to a cemetery for a funeral or to visit a grave. So, people are put in the ground at home, sometimes under a favourite tree, still close.

Our group is guided through heavy plastic curtains to a darkened part of this cavernous space. Twelve mounds of soil are arranged in two rows, each with a stake where a name is written. Using our cards to guide us, we find ‘our’ grave. We have to dig around in the dirt. One woman disturbs the solemnity, exclaiming concern for her jewellery. We are looking for a buried speaker. The volume is low so there is no choice but to lie on the mound with an ear to the microphone to be able to hear a story about war and dislocation, of fear and anger. Not all these people are innocents. My person – I confess, I have forgotten his name – tried to stay out of the conflict until it got too close. His own family members were killed. He entered the fray. He was shot.

It is not comfortable lying in the dirt, clean though it may be. Its earthiness and the intimacy of the listening and the gloom add a visceral perspective to the news we hear about Syria. But let’s not kid ourselves; we are still perfectly safe and soon we’ll be able to go for a cleansing ale. Our final instruction comes as we return to the vestibule to remove the coats and retrieve our shoes. We are given pencil and paper and invited to write to the relatives of the person we met on the other side, of the plastic sheet. Who knows if anyone ever received those letters. If they did, what did they think? Did they feel, just for a moment, a little less abandoned, a little more part of the whole human race?

A few weeks ago I went to another performance. Much less sophisticated, still raw. Suitcase Stories are vignettes written and performed by teenage refugees now living in Sydney. First, the actors offer us their childhood memories of accidents and illnesses and awkward moments. These lull us with their familiarity about our own lives. Who doesn’t know a child carrying a scar from a toddler mishap? Soon we are in new territory, where ISIS and soldiers, landmines and bombs shatter families, produce demons and desperation. All this is mimed by the group, dressed in plain red T-shirts and leggings. Crates act as the only props, turning from cars and tractors into beds where sleep is hard. Instead of counting sheep to help her nod off, one girl counts missiles, 429, 430, 431.

These are grim stories, some better written and spoken than others — English is a new language, a second, third even fourth tongue.  Amanda tells of the Tuesday she went to the hairdresser.  She was delighted by the result. As she preens, a bomb goes off. Hundreds are killed in the busy marketplace. ‘It was supposed to be an ordinary Tuesday afternoon.’

Anabella can’t act out her own story. Mariam takes her place. She’s at her uncle’s house. The phone rings. Something has happened. No-one will tell her what. She goes into the street where she overhears two people talking. That’s how she learns her father has been murdered. These are, we are reminded, true stories.

Finally and urgently these families flee; some must leave everything behind to escape the danger. They are now in Australia. In unison, the teenagers tell us they like Australia because they are safe, away from fear. Well nearly. In one of the final scenes Shukrullah and Saltanat discover a new enemy, a magpie, who swoops them daily as they walk to school. Kifarkis plays the magpie. He has a future on the stage.

Suitcase Stories is a production by Treehouse Theatre in Sydney. The theatre provides a platform for young refugees to share their life stories.

What do we mean by Australia Day?

All the talk about Australia Day – what it symbolises, for whom and when we should celebrate – prompted me to delve into the history of the date, which has long been contentious. The Conversation website has run a series.  And Honest History has published various articles.  My post for the Professional Historians Association of NSW and ACT argues that, before we lock in the date, we need to decide what we want our national day to commemorate: the arrival of the British, invasion, sovereignty, citizenship, summer? Here it is:

What the history of Australia Day can tell us about the date

Metaphors: find the right word to stimulate the brain

A metaphor is a figure of speech in which a word or phrase ordinarily used to describe one thing is applied to another:

Fill your paper with the breathing of your heart. William Wordsworth

It’s not just poets who use metaphors. We all do. Some have become so deeply entrenched we hardly recognise them, for example ‘deadline’, which derives from the literal line around a prison beyond which, should a prisoner go, they would be shot.  The language experts have branded these, inaccurately, ‘dead metaphors’ . They may have lost their freshness but they certainly live on in everyday language.

In recent years, neuroscientists have also been taking an interest in the metaphor. They have investigated how our attempts to turn abstractions into something more concrete are processed in the brain. Their findings reinforce an important lesson for writers: choose words that can arouse all five senses.

In 2006, the journal NeuroImage published a study by researchers in Spain who asked participants to read words with strong associations to smell. The participants were scanned by a functional magnetic resonance imaging (fMRI) machine. When they saw the words ‘cinnamon’ ‘perfume’ and ‘coffee’ not only did those parts of the brain that control language light up, so did the olfactory cortex. At Emory University in the United States, by changing the sentence ‘the singer had a pleasing voice’ to one with a tactile metaphor ‘the singer had a velvet voice’, the researchers activated the sensory cortical region, which had not responded to the word ‘pleasing’. Similarly, ‘he had leathery hands’ triggered a more widespread reaction than did ‘he had rough hands’.

Perhaps these scientific discoveries explain why wordsmiths don’t usually like the mixed metaphor, where two inconsistent images are used in the same description:

Some people sail through life on a bed of roses like a hot knife slicing through butter.

Asking different parts of the brain to process simultaneously the images of yachts, roses (and maybe their thorns), blades and butter is a recipe for confusion rather than clarity.

By the way, I should explain the difference between metaphors and similes (both used in the example above) or, rather, let Ann Edwards do so:

While both similes and metaphors are used to make comparisons, the difference between similes and metaphors comes down to a word. Similes use the words like or as to compare things—’Life is like a box of chocolates’. In contrast, metaphors directly state a comparison—’Love is a battlefield’.

 

Season’s Greetings!

Do you say merry or happy Christmas or both? Are you comfortable with Xmas or do you prefer ‘holiday’? As we approach the festive season, here are some explanations for these differences, some of which are, I’m afraid, political.

First to merry or happy: you’ll note that both are used on this Christmas card, the very first, designed by John Horsley and sent out by Sir Henry Cole, Assistant Keeper at the UK’s Public Record Office, in 1843.

clever animation from Mental Floss suggests that ‘merry’ is more about behaviours (imbibing in particular), while ‘happy’ is a feeling.  It also thinks ‘merry’ more American, and ‘happy’ more English, though Dickens used ‘merry’ in A Christmas Carol and so do many Brits today.

As for Xmas, do you know where the ‘x’ comes from? In Greek, the word Christos  begins with the letter ‘X’ or chi. Here’s what it looks like: Χριστός. This is where the politics start: Franklin Graham, the son of the evangelist Billy Graham, has said the abbreviation is ‘taking Christ out of Christmas’.   The etymology suggests otherwise.

And President Trump has claimed to have brought ‘Merry Christmas’ back to the White House this year. Trump doesn’t like ‘happy holidays’,  seeing the term as a war on Christmas. But, as The Atlantic Monthly pointed out last year, ‘ironically, it’s a Christian-friendly greeting at its root; “holiday” stems from the Old English for “holy day”’.

My advice: put the semantics aside and embrace the best of the festive season but don’t forget that pesky apostrophe between the ‘n’ and the ‘s’ in Season’s Greetings!

 

Teaching + research = tertiary education

In the new world of work, which heralds machines doing routine tasks and people solving problems, learning the how without the why is not enough. In other words, inquiry and evaluation must be integral to all tertiary teaching and learning. This is precisely the time not to break the teaching-research nexus. Good teachers are scholars.

This is a quotation from Francesca’s response to the Productivity Commission’s five-year review, Shifting the Dial.  Read the full article in Pearls and Irritations

What does MBS stand for?

The world loves acronyms – abbreviations from the initial letter or sometimes syllables in phrase or a word. How much easier to text three letters than spell out three words? But will the reader know what MBS stands for? Melbourne Business School, Mind Body Spirit? It depends on the context, of course.

In this case, it is neither. MBS is the nickname of the Saudi Crown Prince, Mohammad bin Salman. I prefer MbS, following the use of upper and lower case in the spelt-out name (‘bin’ meaning ‘son of’) but the Style Manual says  initialisms, which are not pronounced as a word as are acronyms (for example, OPEC*), should be all capitals. That said, I don’t think they had Arabic names in mind when they made this ruling.

So what does The Crown Prince stand for? To read more on this go to Peter Rodgers’ blog post Mohammad bin Salman – Saudi Arabia’s reformer or wrecker? in Pearls and Irritations.

*Organization of the Petroleum Exporting Countries (note the ‘z’ in organisation: in proper nouns following the preferred spelling of the entity or person)