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Showing posts with label Westminster. Show all posts

PINCH OF SALT



Meet him.
Not Black, not Muslim, not Latino.
Not trans, not immigrant, not gay.
Not a card-carrying revolutionary,
not the frothing caricature you wanted.
Just a typical, homegrown lad,
straight as a plumb line,
a son, a brother, a suitor, a mate, refined by a conservative hearth—
and such hands are pulling the trigger.

 

So what now?
Do you stitch another fence from your fears?
Raise another shibboleth?
Wave another flag, red or blue,
as though stitched cloth could cauterise the wound?
You think radicalisation redeems?
You think polarisation purifies?
Antiquity laughs in the physiognomy of your illusions.
From Belfast to Bosnia,
from Rwanda to Westminster’s own whispering antechambers,
blood has always flowed
when men mistook categories for causes.

 

It is easy to mourn the dead,
to canonise them in marble prose,
to cry martyr, saint, beloved.
But brave you admit
that their words, their deeds, their ideology
cut others to ribbons while they yet breathed?
Valiant you hold paradox in your palm—
to love the slain and still
recognise the lesions they left behind?
Or must you always polish the past
until it gleams in a single colour?

 

Why does compassion crumble
the moment it meets conflict?
Why do we, clever apes,
demand a world painted in absolutes—
black or white, villain or angel—
when the truth is muddier,
a swamp of motives,
a cesspit of contradictions?

 

Unconditional love—
is it sermon or substance?
Does it mean to embrace
the murderer and the mourners alike,
to carry both insult and affection,
venom and antidote,
as though they were salt crystals upon the tongue?
And yet—
a pinch of salt, we say,
British understatement camouflaging despair:
It’s all good, baby, baby.
But is it?
Tell that to Gaza’s children.
Tell that to the mother of Stephen Lawrence.
Tell that to the father who buried his boy
after Columbine, after Sandy Hook,
after Uvalde, after London Bridge.
Is it all good?
Or is that phrase a nostrum,
smoothing over jagged veracity?

 

I ask you—
what if the problem is not extremism
but our refusal to sit in dissonance,
to experience its bitterness,
to accept that love must live with critique,
that empathy must coexist with resentment?
What if accord will never be built
from symmetry or certainty,
but from the messy work of holding opposites
without breaking?

 

So take your slogans, your scapegoats,
your shrill chants of “them” and “us,”
and taste them—
with a pinch of salt.
Swallow, if you dare.
It will burn on the lingua and glossa.
It will make you question
whether you have ever truly thought,
or only borrowed thought from louder voices.
It will make you squirm,
because exactitude is no banquet—
it is gristle, sinew, bone.
And it is yours to chew.

 

Once, the patterns were legible.
The habitual offender.
The ideologue nursing his factional frenzy.
The broken soul, warped by trauma or twisted chemistry.
We could explain them away—
file them neatly under pathology or politics.

 

But now?
Now the face is familiar.
The figure is camouflaged as a friend,
a neighbour who mows the lawn,
the colleague who shares your tea break,
the classmate who once copied your notes.

 

And when such a countenance turns,
when such a hand clenches around the firearm,
what excuse remains?
What comfort in the old categories?
What shield against the statistic
that the monstrous now wears
the pretence of the prototypical?

 

So I ask—
If the neighbour becomes the threat, who remains neighbour?
If the scholar becomes the killer, who remains wise?
If the ordinary becomes the executioner, what remains of the ordinary?
And if the veneer of normality can hide anything—
how long before it hides you?

 

Which brings us to the final, most unforgiving inquest.
People act as they do because people are pushed—
pushed against walls, pushed into corners,
pushed until the mind itself buckles under the strain.

 

Violence, we are told, erupts only when there is no other way out.
Yet irony mocks us:
it is often the free, the strong, the educated—
those with choices—that lift the weapon.
For you cannot expect the man, the woman, the child in Gaza,
starved of agency and shackled by rubble,
to redraw the law with their bare hands.

 

So why, then, are those who might have chosen amity
driven to the brink of madness?
Why do those with liberty squander it on bullets?
Should those who push not have learnt from history?
For history speaks, again and again:
whatever you sow—courtesy or cruelty,
mercy or malice— ricochets to you a hundredfold.
And if today resistance rises like smoke,
it is only because tirades of turbulence
were thundered from pulpits and podiums.

 

So the query stands, unresolved, unavoidable:
How do we bring kindness into a world
so fluent in fury?
How do we restrain the hand
before it clenches into a fist?
How do we calm the earth, unsettled and quaking,
when our very values tremble like sand?
What is ethics, what is morality,
if not the courage to refuse the cycle of return?
And if we cannot answer—
what hope remains of peace at all?

  



Canaletto - London. The Thames from Old Somerset House Terrace towards the City. 1750-51


Giovanni Antonio Canal (18 October 1697 – 19 April 1768) better known as Canaletto was an Italian painter of city views or vedute, of Venice. (A veduta, Italian for “view”; plural vedute, is a highly detailed, usually large-scale painting, or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti. Canaletto also painted imaginary views (referred to as capricci), although the demarcation in his works between the real and the imaginary is never quite clear. (In painting, a capriccioplural: capricci; in older English works often anglicised as “caprice” means an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations, and may include staffage (figures). It falls under the more general term of landscape painting. The term is also used for other artworks with an element of fantasy.

He was an important printmaker who used the etching technique. In the period from 1746 to 1756 he worked in England where he created many sights of London. He was highly successful in England, thanks to the British merchant and connoisseur Joseph Smith, whose large collection of Canaletto’s works was sold to King George III in 1762.

London: The Thames from Somerset House Terrace towards the City (1750-51) Oil on canvas

Canaletto arrived in London in 1746 and remained there for most of the next nine years. This painting is a pendant to a view in the opposite direction, towards Westminster. This pair was the last by Canaletto, and the only English views to be acquired by Canaletto's great friend and patron, Joseph Smith, who was British Consul in Venice. They are on a Venetian type of canvas with a russet ground rather than the light grey that the artist used for most of his English paintings. This suggests that Canaletto painted them when he returned to Venice briefly in 1750-1. The view is not based on the drawing, but on a slightly different view now in the Courtauld Institute of Art Gallery. Canaletto adjusted the composition to suit the much grander scale of the painting.

The view is taken from the Terrace of Old Somerset House. Its New Gallery facing the river had been built in 1661-61 for Henrietta Maria, the Queen Mother and was perhaps designed by Inigo Jones. The building was subsequently the home of the Royal Academy, and part of it is now occupied by the Courtauld Institute of Art. The skyline is dominated by St Paul’s Cathedral, completed in 1709. Canaletto altered the dome so that it is viewed from slightly below, magnifying its powerful presence. Beyond it stretches a horizon dominated by the steeples of the City churches, largely built by Christopher Wren following the Great Fire of 1666. At the right is visible the Monument to the Fire, erected in 1671-77, Old London Bridge with its houses which were demolished in 1757, and part of the south bank.


The pair of views relates not only to Canaletto’s Venetian scenes, but also to the long tradition of topographical views of London dating back to the 1600s. Earlier engraved prospects of London were usually printed on several sheets to include the whole riverside from Westminster to the Tower. During the last century artists had chosen to depict the city stretched out in a line from a bird’s eye view over the south bank. Canaletto adopted a high viewpoint for his earlier views of the river but brought the viewpoint almost to ground level here. The great curve of the river dominates the composition, which also manages to include all the principal features to be seen from the terrace of Somerset House. When the two views are placed side by side they create a long panoramic view of the curve of the river, the equivalent on the Thames of Canaletto's wide-angled views of the Bacino in Venice.