Showing posts with label ww1. Show all posts
Showing posts with label ww1. Show all posts

Thursday, October 15, 2020

Mata Hari: the spy who wasn't



More than a century after her execution, in 1917, Mata Hari remains the prototypical figure of female spy. An extreme case of “femme fatale”; she is seen as someone who not only seduced men for money, but also for the greater lust of having them killed by the thousands on the battlefield.

However, Mata Hari’s fame as a spy is usurped. Looking back at the acts of her trial, we can see the absurdity and the inconsistency of the accusations raised against her. There just was no way that she could have caused “the death of hundreds of thousands of French soldiers” as it was said. She was, rather, a scapegoat killed in order to distract the public in a moment when the war was going badly for France. Put simply: she was framed.

Still, even without the glamour and the adventure that go together with the career of a spy, Mata Hari remains a fascinating figure for us. In the present book, all the references to Mata Hari’s story, her trial, and her execution are factual. Born in a small Dutch village in 1876, in 1905 she came back to Europe from what was called at the time the “Dutch Indies”, after having divorced from her husband, a Dutch army officer. Her time in the Indies had been of just a few years, but it was enough for her to invent a kind of sensual “Oriental dances” that she presented for the first time in public in a private museum in Paris.

As a dancer, Mata Hari drew a lot of criticism at her times and it is likely that her dances were little more than strip teases with an Oriental flavor. Still, clearly she was doing something right and she became immensely popular. Her figure became also commonplace in the wave of erotic postcards which exploded in Europe at the beginning of the 20th century. As years went by, Mata Hari gradually gave up with stripping naked in public and she became a high level courtesan, seducing the rich and the famous. She seems to have been successful at that, too. During the war, she may have tried her hand at being also a secret agent, but she wasn’t very successful at that. At 41, she was arrested, jailed, and then shot by a firing squad on October 15th, 1917.

It may well be that Mata Hari’s Oriental stance was not just a veneer to ennoble a little her strip teases, but it may also be that she had seriously studied Buddhism and other oriental ways while in the Dutch Indies. Her behavior at her execution, her calm, her evident belief that death was simply a passage, show that her Buddhism was not just a pose but something that she had taken by heart.

With all her originality, however, surely Mata Hari was not an intellectual. Her achievements seem to be more the result of intuition than of reasoning. She had, no doubt, an incredible skill at fascinating men, but her ability to manage her life was less than satisfactory, to say the least. Her lifestyle was always beyond her means. This, and her clumsy defense at the trial give some weight to the claim of Emile Massard that she was not very intelligent (Later on, R. Warren Howe would define her “hare brained”).

But you don’t have to be a genius to have an impact on the world and there is no doubt that Mata Hari had one. She was a very unconventional figure and being so unconventional was, at her time as in ours, dangerous. The deadly mix of nationalism and propaganda that killed Mata Hari was to continue and to explode in later years with the 2nd world war and the holocaust, leading Europe into what were the largest exterminations of innocent people that history has (so far) recorded. Mata Hari was among the first to be engulfed by this wave of senseless killing. She was killed in cold blood by people who were, most likely, perfectly aware that she was innocent but who couldn’t resist the effect of propaganda that makes it impossible to face the onrush of lies that submerge one’s reason and one’s judgment.

That things went out of control with Mata Hari is shown also in the cruel and harsh way she was treated. The pictures that we have of her at the time of the trial show us a woman physically destroyed by months of life in jail (so much for Massard’s fancy stories about her “dancing” in prison, or even requesting a “milk bath”). Seeing these photos we may, in a way, understand how Mata Hari may have considered her execution as a true liberation.

Mata Hari received also the ultimate insult, that of being denied a decent burial, of having her dead body desecrated by dissecting it on a hospital table. She was denied the status of human being. Rather, she was treated as a sort of giant insect to be disposed of. The transformation of human beings into insects and their subsequent extermination is something that Kafka had already described in his prophetic story “the metamorphosis”. Kafka died in 1924, in later times the anthropologist Roy Rappaport defined as “diabolical lies” those lies that “tamper with the very fabric of reality”. Causing people to believe that “they” are less human than “us” is one of these diabolic lies.


Saturday, August 29, 2020

Empathy and Epic Fiction: A reflection on the day of the Ashura of 2020

 The day of Ashura, 2020, inspired me these notes about empathy and epic fiction

 
Is it still possible to produce epic fiction in our world? It is extremely difficult in a world where everything seems to be tainted with decadence and decline, but there is a chance. And we saw truly epic moments in Russel Crowe's movie "The Water Deviner" (2014). 

Let me say first that whoever wrote the script for this movie should be cursed by the muse Calliope and receive at least a bad stomachache as punishment. Really, modern scripting is almost always bad, but this one is terrible. We see an improbable war-widow who looks like a movie star, completely out of place in a hotel in Istanbul. Flashbacks aplenty, and of the worse kind (against the basic rule of all fiction: never use flashbacks). An especially horrible scene is when the filmmaker insists for at least five minutes on showing us one of the three sons of the protagonist having to kill his wounded brother. I mean, what do you think you are allowed to do in order to try to extract a cheap tears from your viewers? Don't you have a drop of shame left in your nearly empty brain? And the script for the last 10 minutes of the film were handled by the same writer who writes the scripts for the Tom and Jerry cartoons.

But the film has this redeeming feature: it is epic. Truly. It is because the theme is epic and we can't miss that point. "The Water Deviner" tells us of a father looking for the bodies of his dead sons. That's something that resonates with all of us. You can't forget the scene, in the Iliad, when King Priam goes to see Achilles, asking him to give back to him his dead son. And Achilles weeps together with the father of the man he killed. This is possibly the highest moment of poetry ever produced in human literature. And it is epic. 

What is epic, after all? It is conflict and a good cause. There is a hero who fights for a good cause. He may be defeated, it doesn't matter. Heroism is doing one's duty in difficult circumstances. Not by chance I am writing these note in the day of the Ashura of 2020, commemorating when the Imam Hoseyn (AS) fought and died at Karbala. He fought for justice and died for justice, that's the basis of all epic stories.

So, epic can appear everywhere, in different circumstances. Even in a decadent society that seems to be bent to destroying everything that's good and decent, like ours, occasionally epic resurfaces. Think of how Virgil resurrected the epic stories of the Iliad and the Odissey in his Aeneid. Like us, Virgil lived in an age of decadence, and his attempt to glorify the birth of the Roman Empire could have turned into the worst apologetic trash that the Empire was already producing at the time. And yet, Virgil turned his story into an epic masterpiece. This is because epic is always around us, it is up to us to recognize it. 

Back to The Water Deviner, despite all the narrative disasters that plague it, the epic vein never really disappears. It is deep, and it is made especially alive by the figure of Hassan Bey, the Turkish officer who is the co-protagonist (and perhaps the true protagonist) of the movie. It is in the gradual discovery by Joshua, the protagonist, of the soul of a nation: ordinary people, the Turkish soldiers defeated in the war, who feel that they have something to fight for: to defend their land. This is epic -- truly epic. 

Of course, I know that wars are bad. In this case, after the end of the 1st world war, a lot of horrible things happened and all the sides involved have their faults: Turks, Greek, British, all alike. It is part of the human destiny to be like this. But one day we'll transcend the need of the kind of epic that involves killing people. It will be a different, and higher, form of empathy that we will reach. But we won't get anywhere if we don't develop empathy even in the simplest forms. And we have to start from the level we are: the level of feeling something for our fellow human beings. Yes, like when we are told of a father who is looking for the bodies of his dead sons. It may be Priam in the Iliad, or Joshua in "The Water Deviner" -- it is the same thing. It is the magic of empathy that makes us be them, and takes us to their world and their feeling.

The words below are attributed to Mustafa Kemal Ataturk and to have been addressed to the mothers of the Australian soldiers who died in Gallipoli during the WW1. It is not certain that Ataturk ever said these words, they may be fiction. But, then, so are the words that Achilles and Priam exchanged as told in the Iliad. And, I dare to say, that this piece of fiction by an anonymous writer of the 1930s is not inferior to the words told by Homer. Words are our link to the real world. Worlds make us see, dream, and feel. And words make us feel for something higher than ourselves -- this is empathy in its purest form. The epic in everyone of us.

Those heroes that shed their blood
And lost their lives…
You are now lying in the soil of a friendly Country.
Therefore rest in peace.
There is no difference between the Johnnies
And the Mehmets to us where they lie side by side
Here in this country of ours…
You, the mothers,
Who sent their sons from far away countries
Wipe away your tears,
Your sons are now lying in our bosom
And are in peace
After having lost their lives on this land
They have become our sons as well


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There is a point that I hadn't noticed when I published this text and that came up in the discussion on Facebook. I wrote that in the Iliad, "Achille weeps together with the father of the man he had killed." Which is true, but note the subtlety, Achilles doesn't weep for Hector or Priam. He just notices the similarity of the destiny of his own father and his friend Patroclus. And he weeps for them only. It is a kind of empathy, but I'd say a notch lower than that of someone who really can put himself inside the person he faces. It seems to fit with Julian Jaynes interpretation of the mind of the people at the time of the Iliad: their level of empathy was not so high.

Priam finished. His words roused in Achilles
a desire to weep for his own father. Taking Priam’s hand,
he gently moved him back. So the two men there
both remembered warriors who’d been slaughtered.
Priam, lying at Achilles’ feet, wept aloud
for man-killing Hector, and Achilles also wept
for his own father and once more for Patroclus.
The sound of their lamenting filled the house.

h/t Maurizio Tron