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Sunday, April 20, 2025

The Literary Note


 April 18, 2025
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Image by Cole Keister.

Steve Stern. A Fool’s Kabbalah: A Novel. Brooklyn: Melville House, 2025. 287pp, $19.99.

Omer Bartov, Israeli-born, renowned scholar of the Holocaust, has said lately that the genocide of Jews in the European 1940s is now fixed in history along with the genocide of Palestinians in Gaza. The way we look at the 1940s, even within a splendid novel of Jewish history, is now different, can only be different.

At the end of A Fool’s Kabbalah, a very remarkable literary mixture of humor and horror, the beaten and hungry remnant of a Jewish shtetl in Eastern Europe is marched into a synagogue by the German invaders, the doors are locked and the building set afire. Horrible enough in itself, the deadly fire and the moral indifference of the Germans can only remind us today of bombs falling upon the trapped and hungry non-combatants in a zone now become historical for its vast use of prosthetics to replace the destroyed limbs of children. The historical narrative seems to have been turned upside down, and the world weeps.

Let us try to take a step back. The literature about Eastern Europe, including the Jews of Eastern Europe from the late nineteenth century to the end of the Second World War, has been growing by leaps and bounds in recent decades. Out of this swirling mass of fiction and mostly non-fiction comes a fine novel, not really “Marc Chagall on LSD” as a blurber suggests on the cover, but remarkable enough in itself.

One major theme of the emerging scholarship, perhaps one of the most surprising in several ways, is the deepening contextualization of the Jewish experience. In recent years, for instance, rich histories have been written about the (Jewish) Bund, with a following of tens or hundreds of thousands in the middle 1930s, at a time when Zionism remained marginal, attracting only modest interest. This is already far from the Hollywood, or for that matter the Israeli version of modern Jewish history. But there are larger themes as well.

The most important concerns the locus of the mass of pre-Holocaust Jews. Historians have explained that “Eastern Europe,” in the sense of the Russian-dominated East Bloc, did not exist because no one thought of the region in this compact and cohesive sense. The dense, vastly complicated but also very largely rural or semi-rural web of communities Jewish and Gentile had been divided and redivided by nationality, sometimes armored by the State or by religion, for centuries.

The First World War, in this light, might be called the beginning of something or equally, the end. Military hardware, newly organized and expanded armies exceeded in their destructive power all expectations. The Europe that emerged from the conflict tilted to the British-French side thanks only by the appearance of the Americans. Europe was widely viewed as exhausted, “an old bitch gone in teeth,” as Ezra Pound inelegantly put it.

Socialist redemption, the spreading of Revolution from East to West, might have changed world society. The US presence also guaranteed it would not be so.

But the human geography of Eastern Europe did not change to suit the redrawing of states. In considerable zones, the outside world of State authority remained or at least seemed distant, villagers and national leaders often with little in common. Folk customs, framed around very particular understandings of religion and culture, remained insular within local and regional and local languages or mini-languages. Almost as if the Turks or some other kingdom still ruled and demanded tax revenues but otherwise remained mostly at a distance.

Thus the survival of quasi-nationalities. Among these, we can count the shtetl Jews, their lives varying from place to place but with the same anti-Semitic enemies on hand, whipped up from time to time by the authorities. In hundreds of these villages, a sensibility of Yiddishkayt or “Yiddishness” dominated, not exactly a Jewish nationalism and far from Zionism. The great anarchist scholar of Yiddish literature, B. Rivkin, insisted that on holidays, the insular shtetl was “outside of time,” much as Mikhail Bakhtin viewed the holidays of the European Gentiles in the Middle Ages.

In villages closer to cities or within the range of growing commerce, Yiddish could be seen already as the domestic workers’ language that even the matrons of the Jewish lower middle class regarded as quaint but useful to communicate, by way of a supposedly lesser tongue. That is to say, unlike the German, Russian or some other dominant language spoken by educated Jews.

Now imagine these Jews, middle and lower class, in villages ruled largely by the merchant class and the rabbis, as they increasingly interacted with the outside world. Socialists and later Communists learned from experience that they needed to speak and write in Yiddish to reach the less educated but poorer and often more revolutionary-minded Jews. That world outside had grown closer in the First World War, so much so (as an octogenarian lady told me in 1980) that the (first) German invasion could be remembered as mainly benevolent, bringing education and medicine, vastly better than actions of the local peasants.

Meanwhile, thanks to both the earlier surge of Jewish population (higher calorie counts increased birth rates exponentially over the course of the nineteenth century) and the departure of emigrants who could send back money to their families, the shtetls survived and by historic measure, at least, could be said to have flourished—even as the young and adventurous continue to escape, take up socialist ideas or both.

All this is the shtetl world of Steve Stern’s novel, thrown into crisis by the Second World War. Not that that action takes place entirely in the shtetl or in the 1940s. Gershom Scholem, the great scholar of Judaica but also the great friend of Frankfurt School theorist Walter Benjamin, is on hand to discuss matters of Jewish destiny and to reflect, mostly after the Holocaust, on the meaning of it all. In mystic terms. Understandably: rationality could hardly explain the Holocaust.

Walter Benjamin famously struggled, before his suicide in 1939 at the French border, to reconcile Marxism and Mysticism, with Sholem a modern master of Jewish mystical traditions. The two intellectual giants had plans or at least visions of what European Jewish life might become in decades again. Sholem worried that the still-unpopular Zionist project would betray and thus negate its spiritual roots. Benjamin sought some kind of redemption in the world of material objects and geographical places, a counterpart to Chagall and other Jewish artists surveying centuries-old Jewish temples and other buildings tucked away in Russia, sketching the nearly forgotten art and design in the years shortly after the Revolution.

When we leave these two, Benjamin forever and Sholem for some years, we find ourselves in the forgotten village of Zyldzce. Sometimes Poland, sometimes Byelorussia, sometimes Lithuania, the borders shifted and the rulers were never friendly to the Jews. Something terrible happens in 1940. The occupying Red Army had repressed the antisemitic peasants, and even greeted Jewish villagers with socialist sympathies. When the Russians withdrew, the Germans took over.

The dangers around the villagers understandably prompted a renewed interest in the traditions of mysticism. What Gershom Sholem would find as an empty wreck of a settlement, only a few years later, had been a hotbed of Talmudic discussion. It had also been a society of sharply divided classes, with traditional leaders become the collective mediators with the occupiers…..as they had in the earlier world war and in so many other past incidents, pogroms included. They, the (relatively) rich and powerful, had “handled things.” They would again, or so they were convinced.

The last several years of village life and culture dragged on, with the Germans now in charge, almost as if in a parody of the centuries-old practices. Religious ceremonies and food (when it could be obtained), weddings of fools with the accompaniment of the klezmorim, all as usual, even with the shadows growing more terrifying week by week. Thus the village fool, a famous figure in shtetl life and lore, entertains the German invaders so as not to be killed himself and perhaps to spare his fellow villagers who are abused and threatened more and more as the war continues.

Back and forth we go to Gershom Sholem, sometimes to his friend Hannah Arendt—herself only a few years from sharing the bed of the great antiSemitic philosopher Martin Heidigger—and the memories he carries, pursuing the vanished libraries that he hopes to find and save.

The end is surely coming, the villagers ever-closer to doom. One last Purim is staged among the ragged, hungry survivors, but not without, even at the last moment, the touch of Jewish humor. Famously, in the quarrel between Jewish pessimist and optimist, the first insists that things can’t get worse, while the second insists, of course they can. And he’s right.

We may need even at this point to be awakened to the other Jewish world unseen in these pages, Jewish life in the USA, where wartime prosperity soared beyond all previous expectation. The rising middle classes are ridden understandably by a sense of terror for distant relatives, even as they enjoy in their own lives unprecedented high living, better apartments, food and life, for themselves. In fact, although we do not see it in the novel, “Russian War Relief,” organized very much by the Left, is also raising millions of dollars and raising public attention to the quandary of Europe’s surviving Jews. If only the War can end, the remnant can be saved, and world peace can follow the expunging of fascism from the globe. No such luck.

Paul Buhle is a retired historian, and co-founder, with Scott Molloy, of an oral history project on blue collar Rhode Islanders.


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Saturday, March 08, 2025

Animal skins, bells, ritual chaos: Ancient burnout remedy is still at the heart of Greece’s carnival

DISTOMO, Greece (AP) — In the mountain village of Distomo, the “Koudounaraioi” — literally, the “Bell People” — transform themselves into half-human, half-beast revelers in a ritual dating back to pre-Christian times.



Derek Gatopoulos and Petros Giannakouris
March 4, 2025

DISTOMO, Greece (AP) — Feeling overwhelmed by everyday obligations or doom-scrolling? The ancient Greeks had a remedy for burnout still practiced annually by their rural descendants.

In the mountain village of Distomo, the “Koudounaraioi” — literally, the “Bell People” — transform themselves into half-human, half-beast revelers in a ritual dating back to pre-Christian times.

Clad in sheep and goatskins with heavy hand-forged bronze bells chained to their waists, the Bell People danced through the streets Monday of this red-roofed village, a two-hour drive northwest of Athens.


The deafening clatter the dancers make and their profanity-filled chants as they bound around a fire in the main square are a wine-fueled sonic assault. And that’s the point.

Hedonistic carnival traditions across the Greek heartland and islands trace back to the ecstatic processions in ancient times honoring Dionysus, the god of wine, fertility and revelry and were then, as now, a cultural pressure valve.

“We give society a jolt … and try to take away their misfortunes, their problems, to lift their spirits so they can feel something,” said Giorgos Papaioannou, a 29-year-old aluminum plant worker known during carnival as president of Distomo’s Bell People.

“We even visit cemeteries, making noise to ‘wake up’ the souls of those who have passed, reminding them and the living alike that we are here, celebrating life,” he said.

The ancient tradition practiced by farming communities to usher in spring was eventually incorporated into the Christian calendar. Monday marks the end of carnival and the start of Lent, a period of dietary restrictions and increased religious observance before Easter, which this year falls on April 20.

Distomo is known to Greeks as a symbol of wartime hardship. In June 1944, occupying Nazi forces slaughtered 230 civilian villagers, including more than 50 children in reprisals for attacks by resistance fighters.

An austerely-styled World War II mausoleum overlooks the village.

“After the massacre, we managed to keep the tradition alive. It’s to awaken the spring,” Distomo Mayor Ioannis Stathas said. “This is a tradition that is many centuries old, a pre-Christian tradition, and it has been carried from generation to generation.”

This year’s Bell People, many of them schoolchildren, held up flares and olive-wood staffs as they entered the village, trailed by giggling children and their parents dressed up as dinosaurs, police officers and other carnival costumes.

Revelers were handed plastic cups filled with wine and portions of bean soup, as children danced to a mix of Greek folk music, Western chart hits and K-pop.

Amalia Papaioannou, a historian and curator of the Distomo Museum, said that the once male-dominated celebrations have remained relevant by incorporating pieces of modernity but remain rooted in rural traditions.

Agrarian societies, historically reliant on favorable conditions in nature for their survival, created these rituals to ward off evil and misfortune, she said. Carnival revelry has for centuries served as a sanctioned period of chaos before returning to structure and restraint.

“It allows a brief period of social inversion: People wear disguises, and speech, including crude jokes, is temporarily liberated. Even the Church historically tolerated such festivities, recognizing their deep-rooted cultural and communal significance,” she said.

“You could call it a reset.”

___

Lefteris Pitarakis contributed to this report.



... BAKHTIN TRANSLATED BY HELENE ISWOLSi&. 1/. Page 4. First Midland Book Edition 1984. Rabelais and His World is translated from Tvorchestvo Fransua Rable,. Moscow ...



Feb 17, 2025 ... PDF | On Nov 1, 2022, Rainer Grübel published Carnival, Carnivalism and Bakhtin's Culture of Laughter | Find, read and cite all the research ...


society" (56). This necessitates a closer look at the Utopian motifs actually utilized by. Bakhtin in his writings on Rabelais and carnival. In ...

Oct 22, 2024 ... Bakhtin discusses the historical origins of the Roman, Greek, and Egyptian festivals to illustrate that carnival celebrations go back to ancient pagan ...

Friday, December 22, 2023

'Pooper' figures star in nativity scenes in Spain

Rosa SULLEIRO
Thu, 21 December 2023

The 'caganer' -- or 'pooper' figurine -- has long been a staple of Christmas in the northeastern region of Spain
 (Josep LAGO)

Look closely at a nativity scene in Spain's Catalonia region and you will likely spot an unusual figure -- a peasant with his pants down and doing his business in the holy scene.

The "caganer" -- or "pooper" -- figurine has long been a staple of Christmas in the northeastern region, usually placed in a discreet corner not far from Mary, Joseph and the baby Jesus.


The defecating statuettes are believed locally to bring prosperity for the coming year. They have become increasingly popular with tourists, especially in Barcelona, the region's capital, where they are easily found in Christmas markets.

The traditional clay figure depicts a peasant or shepherd wearing black trousers, a white shirt and the classic red Catalan cap called the barretina.


But the tradition has expanded to include famous figures such as Chinese President Xi Jinping, former US president Donald Trump, singers such as Michael Jackson and athletes like Paris Saint-Germain star Kylian Mbappe.

"It is very interesting. We are also very surprised to see they have all these figures, celebrities and also political figures. It's definitely a new experience for us," said Amy Hu, a 30-year-old tourist from the United States, as she browsed a selection of caganers in Barcelona.

One of the biggest caganer makers, family-run Caganer.com, currently sells 650 different models of the figures at its six shops in Barcelona and Madrid as well as online, where the United States accounts for the bulk of orders.

The company expects to sell 140,000 of the figures this year, which retail for five to 21 euros ($5-$23).

Sergi Alos, co-owner of the company founded by his mother in 1992, said the figures were a tribute, not a mockery. He said he was happy that tourists could "have something that is typically Catalan".

- 'An icon' -

The roots of the caganer are vague but are generally thought to date from the 18th century.

The figurines aim to "connect the people to the mystery of the nativity", said Josefina Roma, a retired University of Barcelona anthropology professor.

She likened caganers to playful characters that appear in theological narratives to make them more understandable.

Xavier Borrell, the president of the 33-year-old Friends of the Caganer Association, which has around 100 members, said the figures "have gone beyond nativity scenes to become an icon".

The retired engineer owns 1,400 caganers, the bulk of them classic figurines of peasants.

He said he was delighted that the statuettes had become popular tourist souvenirs in Catalonia, a wealthy region of around 7.7 million people that has its own distinct language.

"In Catalonia we sell Mexican sombreros, Sevillian dresses, images of bulls, which are not typical of our culture, and the fact that tourists who come here take a caganer with them pleases me a lot," Borrell said.

- Unusual gift -

At Christmas markets across Catalonia, caganers rub shoulders with "tios", a log with stick legs and a smiling face and red hat that is also a staple in many homes during the Christmas season.

Parents cover the log with a blanket and secretly place little gifts such as candies, nuts and small toys inside.

On Christmas Eve, or in some households on Christmas Day, children hit the blanket-covered log with sticks while encouraging him to "defecate" gifts.

"It is a bit scatological," Borrell said.

The log does not drop large gifts, which are traditionally considered to be brought by the Three Wise Men on January 6, the day of the Epiphany.

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CARNIVALE/TRANSGRESSION/THE FOOL

Edisciplinas.usp.br

https://edisciplinas.usp.br/pluginfile.php/4994029/mod_resource/content/1/Bakhtin%2C%20Mikhail%20_%20DENTITH%2C%20Simon_%20Bakhtinian%20thought%20_%20an%20introductory%20reader.pdf

Mikhail Bakhtin, and the writers associated with him, have come to be recognised as writers of trail-blazing importance. Working in the.

Wednesday, May 31, 2023

‘Mad and offensive’ texts shed light on the role played by minstrels in medieval society

The Heege Manuscript.‘Manuscripts often preserve relics of high art. This is something else’ … the Heege Manuscript. Photograph: National Library of Scotland

The Heege Manuscript which ‘pokes fun at everyone, high and low’ is among the earliest evidence of the life and work of a real minstrel



Sarah Shaffi
THE GUARDIAN
Wed 31 May 2023 

From mocking kings and priests to encouraging audiences to get drunk, newly discovered texts at the National Library of Scotland have shed light on the role played by minstrels in medieval society.

Containing the earliest recorded use of the term “red herring” in English, the texts are part of a booklet known as the Heege Manuscript. Dr James Wade of the University of Cambridge, who discovered them, said echoes of minstrel humour can be found “in shows such as Mock the Week, situational comedies and slapstick”.

“The self-irony and making audiences the butt of the joke are still very characteristic of British standup comedy,” he added.

Throughout the middle ages, minstrels travelled between fairs, taverns and baronial halls to entertain people with songs and stories. Although fictional minstrels are common in medieval literature, references to real-life performers are rare, and the Heege Manuscript is among the first evidence of the life and work of a real minstrel.

Dr James Wade: ‘To get an insight into someone like that from this period is incredibly rare and exciting.’ Photograph: University of Cambridge

Wade, from Cambridge’s English faculty and Girton College, said that most “medieval poetry, song and storytelling has been lost”.

“Manuscripts often preserve relics of high art,” he continued. “This is something else. It’s mad and offensive, but just as valuable. Standup comedy has always involved taking risks and these texts are risky! They poke fun at everyone, high and low.”

The texts consist of a tail-rhyme burlesque romance entitled The Hunting of the Hare, a mock sermon in prose and an alliterative nonsense verse The Battle of Brackonwet. They were copied circa 1480 by Richard Heege, a household cleric and tutor to a Derbyshire family called the Sherbrookes, from a now lost memory-aid written by an unknown minstrel performing near the Derbyshire-Nottinghamshire border.

Wade believes the minstrel wrote part of his act down because its many nonsense sequences would have been extremely difficult to recall. “He didn’t give himself the kind of repetition or story trajectory which would have made things simpler to remember,” Wade said. “Here we have a self-made entertainer with very little education creating really original, ironic material. To get an insight into someone like that from this period is incredibly rare and exciting.”

The Hunting of the Hare is a poem about peasants, “full of jokes and absurd hijinks”. Wade said that one scene is reminiscent of Monty Python’s “Killer Rabbit of Caerbannog” sketch.

The sermon addresses the audience as “cursed creatures” and includes fragments from drinking songs. “This is a minstrel telling his audience, perhaps people of very different social standing, to get drunk and be merry with each other,” Wade said. The sermon also contains the first recorded use of the term “red herring”, when three kings eat so much that 24 oxen burst out of their bellies, sword fighting; the oxen chop each other up until they are reduced to three “red herrings”.

The Battle of Brackonwet features Robin Hood as well as jousting bears, battling bumblebees and partying pigs. The poem names several villages close to the Derbyshire-Nottinghamshire border and includes a “skilful demonstration of alliterative verse and a clever double entendre”.

Wade said: “We shouldn’t assume that popular entertainers weren’t capable of poetic achievement. This minstrel clearly was.”

Wade’s study is published on Wednesday in The Review of English Studies journal.



https://www.cambridge.org/9781009064347

Based on up-to-date sources and recent scholarly editions of Bakhtin's work; Sets Bahtkin's work in its historical context, helping readers better ...


https://monoskop.org/images/7/70/Bakhtin_Mikhail_Rabelais_and_His_World_1984.pdf

Bakhtin's ideas concerning folk culture, with carnival as its ... Long before he published his book on Rabelais, Bakhtin had ...



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Thursday, March 24, 2022

War is no joke, but in Ukraine, humor is resistance | Opinion

Menendez

Ana Menendez
Tue, March 22, 2022

Just before the Russian invasion of his country, Ukrainian writer Andrei Kurkov posted a sardonic alert on Twitter: “Kyiv/Kiev weather forecast: +5C, windy, chances of Russian attack 30%, feels like 95%.”

A few days later, he posted a photo of heavily armed soldiers by the side of the road and tagged it “Ukrainian mushroom pickers.” A photo of a bombed building on March 2 was labeled: “A school visit from Putin.”

This kind of ironic, often dark humor defines Ukraine’s culture of resistance, says the Odessa-born poet Ilya Kaminsky.

“In Odessa, it helped people to cope during Soviet times,” Kaminsky wrote in a brief interview I conducted with him over email. “It helped to have a language of its own, with its own jokes and intonations, quotations and echoes not always understood by authorities.”

In a recent interview with Slate, Kaminsky pointed out that the most important holiday in Odessa isn’t Christmas, “It is April 1, April Fool’s Day, which we call Humorina. Thousands of people come to the street and celebrate what they call the day of kind humor. All of Ukraine has a sense of humor — think of the man who offered to tow the Russian tank which had run out of gas back to Russia.

“Humor is part of our resilience,” he said.

War is not funny. Suffering, exile and dispossession are nothing to laugh at. And, yet, humor has always formed part of resistance movements. Why? What role does laughter have to play in times of oppression? Is humor just a safety valve, or can it be the catalyst for real change?

Last year, these questions prompted me to propose a new course at Florida International University. I spent a year developing “Humor as Resistance” as a special topics course in our Writing and Rhetoric track, and this semester, 17 intrepid students enrolled. We were exploring the topic together, when Vladimir Putin invaded Ukraine making a hero of the country’s comedian-turned-president, Volodymyr Zelenskyy.

“I don’t need a ride,” Zelenskyy reportedly told the Americans who wanted to evacuate him in the early days of the invasion. “I need ammunition.”

As the daughter of Cuban exiles, I well understand how humor makes life bearable. Living with despots, sometimes laughter is the only way to tell the truth. One of the first short stories I wrote, “In Cuba I was a German Shepherd,” revolves around a group of old men who tell jokes around the domino table to process the pain of exile. Later, I bonded with my Slovak husband, over jokes that made light of communist-era deprivations:

Man runs into a store. “I’d like a roll of toilet paper.”

Shopkeeper: “We’re out. We’re getting some next week.”

Man: “I can’t wait that long.”

Satire has a long history in the West, of course, going back to at least Aristophanes. But as a form of resistance, it has a particularly strong tradition in Eastern and Central Europe, pre-dating Soviet times. The Odessa-born Isaac Babel was the master of this style during the earlier Russian empire. And, for the Czechs, the great master of ironic resistance was “The Good Soldier Å vejk,” the creation of anarchist Jaroslav HaÅ¡ek, an inveterate hoaxer whose hero, under a cloak of naivete, pierces every cultural pomposity, particular those emanating from the military.

Many of these forms of humor hark back to the literary carnivalesque (embodied by Rabelais and elucidated by the critic Mikhail Bakhtin). The tradition remains alive in Europe, where the spirit infused a range of humorous resistance stunts from the Poles who resisted state propaganda by taking their TV sets out for a walk during the daily newscast to the Otpor movement in Serbia that organized a “birthday celebration” for MiloÅ¡ević complete with cake, card and gifts that included handcuffs and a one-way ticket to the Hague.

With notable exceptions (including Majken Jul Sorensen, whose work has guided my class) most traditional scholarly approaches to humor take a dim view of the power of laughter. Much of the earlier scholarly literature on humorous resistance is preoccupied with the question: “Is it just a way to blow off steam or can humor really change the rules of oppression?”

The question represents a false choice. Resilience is resistance. Beyond instrumentalist aims of humor, laughter is a philosophy, a lightness of life that was most famously captured, in our times, by the writer Milan Kundera who told Philip Roth in an interview: “I could always recognize a person who was not a Stalinist, a person whom I needn’t fear, by the way he smiled. A sense of humor was a trustworthy sign of recognition. Ever since, I have been terrified by a world that is losing its sense of humor.”

I feel for my students. This generation has lived through a civil war in Syria (which has produced more than 5 million refugees) and two years of global pandemic only to now emerge at the cusp of a war that may yet engulf the world. In a broken world, how do we survive?

Violence is its own total vernacular. And we know that a joke has never stopped a bomb. But against the nihilistic darkness of Putin who has suggested “why do we need a world if Russia is not in it?” we can offer the life-affirming light of laughter. We can reject the dour humorlessness of history’s butchers. And we can go on resisting by embracing all the things that make life worth living: friendship, love, and humor, even in the face of extinction.

“Putin died on the 24th of February, 2022 at 5 am Kyiv time,” Kurkov wrote on March 6. “He doesn’t know this yet.”


Ana Menéndez is a writer who teaches at Florida International University. Her most recent novel, “The Apartment,” will be published by Counterpoint Press in April 2023.


Humor As Subversion

One of Chaplin's most celebrated impersonationsThe Great Dictator by Charles Chaplin

Donato Ndongo-Bidyogo | 

George Orwell used to say that “jokes are small revolutions”. What self-respecting autocrat does not have his collection of jokes? Franco, Stalin, Hitler… Simple scape valve of fears and hopes, this modest revenge helps to cope with the absurdity that life can become.

Although jokes never overthrew any tyranny, they act as a cathartic tool, perhaps the only impious transgression that citizens can afford as a form of resistance. Although sometimes they entail risks for those who tell and listen to them.

Ana María Vigara Tauste, linguist at the Complutense University in Madrid who died in 2012, wrote in her study ‘Sex, politics and subversion. The popular joke in the Franco era ‘, that the jokes about Franco and his regime were a “form of humorous rejection of the effective pressure of the dictatorship”.

Sociologist Christie Davies, professor at the University of Reading, who passed away in 2017, compiled in ‘Jokes and Targets’ some of the most celebrated amusing stories in communist Europe. Although it minimized their practical effects – “they did not cause the fall of the Soviet Union,” he said – he considered them fundamental to erode the system, because of their sharp criticism of the political establishment; for him, they predicted the future of socialism better than analysts’ reports, because “they explored all the weaknesses of the system”. According to Davies, a joke is a thermometer and not a thermostat: it indicates what happens, without changing it; at best, it helps maintain morale. Censoring humor, more than a symptom of fear of the powerful, “is a way of saying: here I am, I control the situation!”

Philosopher and political scientist Tomás Várnagy, of the University of Buenos Aires, feels more optimistic about the role of humor against dictators. The examples collected in ‘Proletarians of all countries … Forgive us!’ undermined, in his opinion, the legitimacy of the political, economic and social system they embodied, highlighting the enormous gap between words and reality. He also remembers that, in a democracy, political humor, in its oral or graphic expression, has a very different tone: it serves to laugh at politicians who are not very clever, vain or self-centered, but rarely question the system.

ABOUT THE AUTHOR

Donato Ndongo
Donato Ndongo-Bidyogo was born in Niefang, Equatorial Guinea, in 1950. Writer, journalist and political exile. He was correspondent and delegate of Spanish EFE agency in central Africa (1987-1995). Director of the Center for African Studies at the University of Murcia (2000-2004). Visiting Professor at the University of Missouri-Columbia (United States, 2005-2008). Regular lecturer on American, African and European universities. He is the author of the essays "History and tragedy of Equatorial Guinea" (1977), "Anthology of Guinean literature" (1984) and co-author of "Spain in Guinea" (1998) as well as of three novels translated into several languages. Mr Ndongo is a regular contributor for Spanish media such as El País, ABC, Mundo Negro and The Corner’s print magazine Consejeros, among others.