Speaker by Various Artists

Review: The Motorcycle Diaries

by Bob Glancy

Talking About A Revolution:

At the age of 23, long before Ernesto Che Guevara distinguished himself as the military leader of Castro’s revolution, he took a gap year from medical school. With his gregarious friend, Alberto Granado, and a consistently unreliable Norton 500 Motorbike, they travelled far from their safe middle-class home in Argentina into the different classes, cultures and landscapes of South America, from the Andes to Chile, and finally to a leper colony in the Peruvian Amazon.

The Motorcycle Diaries combines the two journals that Che and Granado kept of their tour. Wrapped in a strong script of humorous and often touching vignettes, The Diaries is an exploration of Che’s political and emotional realisation about himself and his homeland.

Films concerned with historical figures often coat the character in the myths that have since blurred the reality of the man. In this case, the director, Walter Salles, side-steps the problem by focusing on a smaller story about two impressionable young men who find the exploration of their country alters the direction of their lives. The implication of Che’s political future remains a faint suggestion on the horizon.

At the start of the trip, Che’s father gives him his blessing and a large revolver; the only violence involved is the death of an unfortunate duck but the tone of volatility is set. Che’s encounters with the people of South America, many destitute and disenfranchised, sow political seeds. By the time he has reached Machu Picchu, Che dismissed one of Granado’s silly suggestions by saying – “There can be no revolution without guns”. The young medical student hinting at the revolutionary he would grow up to become.

However, these moments are not blatant, nor forced, but instead are blended expertly into a film which, for the most part, is about two young men exploring their county and investing their time in what most young men invest their time in – young women.

The acting from Gael García Bernal, as Che, and Rodrigo de la Serna, as Granado, is superbly underplayed, as times achieving the sort of sincerity that is normally only glimpsed in well-crafted documentaries. Bernal’s stoic rendition of Che is balanced cleverly against Serna’s animated portrayal of Granado and together they generate an endearing dynamic.

Salles’s background as a documentary maker is obvious and his ability to infuse non-professional actors with professionals is impressive. Salles avoided using celebrities with bad accents and capped teeth, instead using real South Americans. Bernal and Serna are both so comfortable in character that they effortlessly rotate around many of the finely improvised moments in the movie.

There is also a very modern feel to the film, avoiding Vaseline-lens nostalgia about bygone days. Salles not only uses Che’s 1950’s South America to reflect subtle suggestions of modern-day South America, but, in places, directly explores the state of contemporary South America. In an interview at the NFT in London, Salles said: “I didn't go ahead on Motorcycle Diaries before realising that the reality of South America in 2002/03 is very similar to that described by Ernesto Guevara in his book.”

The rather sad inference of this being that the hopes raised by Che, Fidel and the revolution did not, in the end, herald any of the fundamental changes that they promised.

Although Robert Redford produced the movie there is not much American money to pollute the script. The potential saccharine of American influence was thankfully shelved by FilmFour’s funding of the movie. An American studio’s response to the screenplay was – “Where is the conflict?” Salles response was simply – “The conflict is internal.”

This is a film made for the cinema, where Eric Gautier’s excellent photography hints at the epic proportions of the South American landscape. It demands two viewings: one to appreciate the cinematography of the land and faces; the other to read the superbly unpretentious sub-titled script.

Near the end of the trip Che is confronted with the significance of the image and the currency that comes with reputation, when Granado convinces a mechanic to fix their Norton for free, by showing him a newspaper article, with a photograph, detailing Che and Granado’s adventure.

Che did not live long enough to appreciate how the famous photograph by Alberto Korda achieved a Christ-like level of iconic ubiquity in modern pop culture. Unfortunately for Che it is an image sadly disenfranchised from the sentiments that once gave it meaning. Many of today’s generation, ignorant of Che and the irony of a communist icon emblazoned across capitalist hearts, now don his face as a pseudo-revolutionary brand.

In an age where cinema seems unable to delve much below the botox-inflated skin of its celebrity actors, The Diaries is an impressive achievement, which, through sharp direction and humour, avoids all of the obvious pit falls. It is a feel-good movie without schmaltz, a political commentary without polemic, a coming-of–age movie without saccharine, a road-movie with a map and a clear destination.

Dir: Walter Salles
Photography: Eric Gautier
Actors: Gael Garcia Bernal, Rodrigo De La Serna
Cert: 15
128 Minutes

Clash of Civilisations: Myth or Reality?

by Ahmed Zaoui

The following is the text of Clash of Civilisations: Myth or Reality?, a lecture by Ahmed Zaoui, delivered on his behalf by Professor Andrew Sharp of the University of Auckland political studies department, at the university on October 19, 2004.

The lecture was written by Ahmed Zaoui in Arabic and translated into English by Tarek Cherkaoui. Mr Zaoui was unable to deliver his lecture in person because he is being held at Auckland Central remand prison. Extensive background on his case is available at the Free Ahmed Zaoui website.

Mr Zaoui is a former lecturer and tutor at the Religious Faculty of Algiers University.

Clash of Civilisations: Myth or Reality?

The end of the cold war and the events of September 11th have engendered an intense and ever-increasing focus from academics and observers about the heterogenic and conflictual relations between the West and Islam. At the same time the powerful Western media machine has produced selective coverage of the Muslim world that has emphasised only its negative aspects: absence of democracy, human rights abuses and terrorism, all manifestly defective in any nation yet all demonstrably legacies of the cold war and of postcolonial states that have failed to achieve development at all levels. Rather than enlightening their readers, sensationalist headlines and unbalanced commentaries in Western media are evidence of a systematic failure of critical thinking about how to deal with a large portion of the world's population, one that has over the centuries contributed in a positive way to the human and scientific development of Western civilisation itself.

A simple example can be seen in the notion of the "Islamic" nuclear threat, a concept that is now deeply anchored in the Western psyche, especially now that Pakistan has successfully tested a nuclear bomb in the context of a frenzied arms race with its neighbour, India.

I oppose these weapons of mass destruction, and do not regard it as praiseworthy for Muslims to possess nuclear weapons, which do not differentiate between belligerent combatants and children in playgrounds. Therefore it is more than enough for the Pakistani bomb to be called Pakistani and not Islamic, as it is enough for other Weapons of Mass Destruction to be called by the names of the nations that develop and hold them - American, British, French, Chinese - rather than by any religious label: Christian, Hindu or Jewish - or secular.

This paranoid view of Islam - I think of it as a psychological disorder characterised by delusions of persecution or grandeur - has been further compounded during the recent campaign to invade Iraq, when the main reason invoked for the war was the alleged possession, by the Iraqis, of nuclear capabilities; an allegation that has not only proven false, but also unmasked the disgrace of reliance on "secret evidence", and exposed the elaborate façade of lies and half truths emanating from the White House and 10 Downing Street.

At the heart of the matter is, as always, 'the other'. Today a globally triumphant Western civilisation no longer characterises 'the other' in terms of skin colour; in Western culture nowadays that form of identification is relatively old-fashioned and clearly racist, with obvious and politically unacceptable links with Nazism and aligned doctrines. Instead 'the other' is now defined in terms of religion and a dissimilar way of life. Consequently a vicious cycle gets erected, in which absurd dualisms prevail: the West versus Islam; the West versus the rest; them and us; civilisation versus barbarism; "You're either with us or against us."

It is one of the illogical ironies of current debates on geopolitical issues that those people who own intelligence, control the production of information and claim objectivity are the same ones who adhere to zealous and empty slogans that serve only the vested interest of arms conglomerates and other business predators. It is likewise illogical to place Islam, which is a monotheist religion, comparable to Christianity and Judaism, in opposition to the West, which is, by turns, a strategic region, an arbitrary geographical division of the earth's surface, or a metaphorical expression of an ill-defined agglomeration of political and economic values.

In his 1990 Tanner lecture, Europe and Islam, Bernard Lewis talks of some of the difficulties presented by the two opposed terms in the title. Islam, he says, is not a geographic location; it is a religion. But for Muslims the very word religion connotes something different than it does for Christians. The word itself, common to the languages of nearly all Christians, Eastern and Western, is derived from the Latin religio - a pre-Christian term for the cult and rituals of pagan Rome.

The comparable Islamic term is dín a term originally Arabic, but which has been adopted in all the many languages of Islam and in common with its cognates in other Semitic languages, notably Hebrew and Aramaic, it means law.

So for Muslims, Islam is not simply a system of belief and worship, separated from other systems, which are the concern of nonreligious authorities administering nonreligious laws; it is the whole of life, and its rules include civil, criminal, and even what we would call constitutional law. Neither is it the monotheistic practice of standardised doctrine.

Of course we can argue that in some secular countries the religious creeds of their leaders are increasingly reintegrating the State with the Church, just as each of the great monotheistic religious traditions have an unattractive apex of fervent belief that thrives in certain environments. However, Islam, like Christianity, and indeed agnosticism, flourishes in a decentralised, tolerant, multiplicitous and democratic format.

Thus we might reasonably speak of the West and the East, North and South, America and Asia, Europe and Africa. Or we might speak of Islam and Christendom, or of Islam and Buddhism. But what can we say about Islam and the West? There is no doubt in my mind that this artificial and often expressed duality is a result of deliberate deception and dishonesty, because the categorisation simply does not stand any close scrutiny.

Yet even if we were to accept such a partition between Islam and the West, Islam itself is not a monolithic construct. It means different things for different people. Islam is not a uniform expression; Islam cannot be constrained to one country or one group. No person or organisation holds exclusive rights for articulating or interpreting Islam, because there is simply no clergy in Islam. Islam has no councils or synods, no prelates or hierarchies, no canon laws or canon courts. The Church, as both an institution and a power, has no equivalent in Islam.

So what does the West, if it exists, understand by 'Islam'? Is it some regime backed by the West itself? Is it some petrodollar sheik supported by the West regardless of his human rights abuses and repression of minorities? Is it some violent group who previously received Western support to fight the Soviets? It is plain that the enemy, 'the other,' is ill-defined and hollow at heart.

Yet behind these generalisations and superficialities there is within Islamic peoples a richness of intellectual trends ranging from those who express a broad admiration of Western ideals and values, to those who reject everything that has its origins in the West. And the question that needs to be addressed is this: what pushes Western decision makers to articulate theories based on the idea of a clash of civilisations?

The answer to this question is a complicated one, reflecting interlocking historical, geopolitical, philosophical and psycho-cultural factors. In terms of history, the West has a strong, if selective, memory and, by making Islam 'the enemy,' is able to retrieve long sequences of history, from the Crusades to the colonial wars, and frame them as parallels and sequels to contemporary events. As an example the Mediterranean Sea, despite being a place of exchange and concurrence between Islamic and Christian civilisations, was also a place where vicious wars were fought and peoples conquered and subjugated. As Fernand Braudel put it in his book The Mediterranean Sea and the Mediterranean World, Islam created and lived Jihad just as Christianity also created and lived the crusades.

Western civilisation, in at least one of its manifestations, aims at global domination. As proof we need look no further than the documents and policies emanating from the Project for The New American Century. This private organisation simply proposes that "American leadership is good both for America and for the world," therefore right-thinkers will promote American global leadership, a "Reaganite policy of military strength and moral clarity" and strive "to shape circumstances before crises emerge, and to meet threats before they become dire". It maintains that such leadership requires "military strength, diplomatic energy and commitment to moral principle; and that too few political leaders today are making the case for global leadership." The cast of fellows includes some familiar names: Messieurs Rumsfeld, Wolfowitz, Cheney, Quayle, Bush (Jeb, that is), and Steve Forbes. In order to reach that global goal the authors arrogantly do not accept any cultural obstacle slowing its progression. The result is an asymmetric, hegemonic confrontation that aims to subdue 'the other' and remove 'the other's' cultural traits and differences, whatsoever those may be.

Another factor may be that, since the Roman era, the Western conscience vis-à-vis the rest of the world has been shaped and precisely characterized by the idea of confrontation with the other. It is a conscience built upon the idea of subduing the other, abrading the other's differences and reducing the other to its own image rather than dialoguing with the other. With respect to strategic intent, it can be posited as a norm that Western strategy has an absolute and desperate need to find an enemy before tailoring an agenda. After the fall of the Soviet Union, Western decision makers were faced with a strategic void, an emptiness of otherness. They had to find a new enemy and Islam met the need, in a manner that, ironically reflects an old Arabic proverb, which says, "When a merchant goes bankrupt, he looks in his old registers." It may be that the confrontational attitude epitomized in the notion of a clash of civilisations is the result of the failure of the West to achieve total and universal acceptance of its ideals.

It is a paradox that religion is a factor in the development of humanity as the Algerian intellectual Malek Ben Nabi has demonstrated in his book The Requirements of Renaissanec. Religion never intervened to change historical factors; rather it was one of the factors making civilisation. Maximilian Weber, in The Protestant Ethic and the Spirit of Capitalism viewed the industrial revolution as a consequence of Protestantism. The corollary follows: will religion be a determining factor in the shaping of strategies and the form of international relations? Will we see Muslims inside Western countries paying the price for state failures or be the fuel for right wing hatred? Will Islam and Muslim immigrants be an unending source of fodder for sensationalist tabloid headlines and a convenient electoral instrument for populist politicians? It is interesting to see that the French psychiatrist Jean Meyson stated in his book The Right Wing in the Psychology Chair that all nations need a Jew as scapegoat. Will this civilisation that aspires to universality exchange the Jew for the Muslim? Will history repeat itself?

There is nothing that makes me think otherwise: the same generalised rhetoric has been used in the past to oppress the Jew in Europe because he was living in the ghetto, because his religion was considered backward and because he was perceived as conspiring against established authority. The same rhetoric prevails today.

It is a paradox that the famous Dreyfus Affair, in which a Jewish French officer was unjustly accused of espionage and conspiracy for Germany against France, should have created, in Sartre's words "the idea of the intellectual." So will this symbolic and corporal oppression that ranges from Abu Gharib and Guantanamo Bay to the secret evidence laws (which bear an uncanny resemblance to McCarthyism's sinister rhetoric) engender a new intellectual spring in the West? In fact there are many important and compelling questions that I want to discuss with leaders and intellectuals: When will this new clash cease? Who will prevail? Will the result be in favour of democracy and human rights? Will it bridge civilisations and help cultures flourish, as former Czech president and intellectual, Vaclav Havel, demands? Or will it start a troubled era of clashes and bloodshed between religions and civilisations?

There is no doubt that truth is the first casualty of this war. It is a war that targets not only Ben Laden and his few followers, but it will be a persistent pretext to muzzle opposition groups that choose a democratic path to express their projects. In my opinion the "war on terror" is only another deal between the West and Arab dictators aiming to secure cheap oil in exchange for a continuing silence concerning human rights abuses as has happened - and happens still - in Algeria.

The late European MP Sir James Goldsmith once observed in his book The Trap, commenting on the situation in Algeria after the putsch during the 90's, said:

Virtual silence has greeted the reversal of a democratic election in Algeria. The West cannot understand a democratic rejection of its ideas. For the West such a rejection is a sign of either dementia or evil.

More pointedly perhaps, Oliver Roy, the French expert in political Islam, addressed the hypocrisy of the West towards democracy in the Muslim world by saying:

When the West has to choose between democracy and secularism, as happened in Algeria and Turkey, it will always choose secularism and not democracy.

And indeed, even as we speak of the West it is important also to know which West we are talking about: is the West represented by NATO and its armies or is it represented by the well-known French antiglobalisation militant José Bové? Is it represented by the French officials who invented the "cultural exception" to rebel against U.S. leadership? Or is it represented by the United States who succeeded in building a worldwide coalition in the 1991 Gulf War while failing to do likewise in 2003 in Iraq? Is it the West as represented by the old Holy Roman Empire, now known as the European Union? And in future will that include or exclude Islamic Turkey? I understand that the admittance of Turkey to the EU will mean that in that most Western of institutions, Muslims would have a majority.

Frankly speaking, notions of both Islam and the West are subject to ambiguity and amalgamation, confusion and compression, yet it is Islam that remains the more elusive.

The difficulty we have in comprehending the everyday elements of another culture is rendered most poignantly by Argentinean author Jorge Luis Borges, in his story Averroes' Search. Averroes, or Abu'l- Walid Ibn Rushd, was a physician, a master of philosophy and Islamic law, science, mathematics and medicine who lived in Cordoba in the 12th century - a renaissance man several centuries before the movement shook Italy - and who, through his commentaries, played a decisive role in Aristotle's rehabilitation.

Borges describes how, while composing his monumental work on Aristotle, Averroes struggled, without success, to understand two crucial terms within the Poetics: tragedy and comedy, terms without any reference point in his world. To appreciate the fruitlessness of this struggle, we must appreciate that there is no historical dramatic tradition in Islamic societies. Averroes and his contemporaries could not draw on the experience of attending the playhouse, of watching or acting, of being in an audience. At evening, setting aside his puzzle, Averroes attends a dinner, where one of the guests describes a visit he made to a strange house of painted wood, a single room with rows of cabinets or balconies on top of one another. On a terrace some fifteen or twenty people prayed, sang and conversed:

They suffered prison, but no one could see the jail; they travelled on horseback, but no one could see the horse; they fought, but the swords were made of reed; they died and then stood up again.

The dinner guests consider the phenomenon, but are unable to satisfactorily account for it. On returning to his library Averroes revisits his commentary, and suddenly inspired, reaches a conclusion:

Aristu (Aristotle) gives the name of tragedy to panegyrics and that of comedy to satires and anathemas. Admirable tragedies and comedies abound in the pages of the Koran and in the Mohalacas of the sanctuary.

Borges describes Averroes' search as a failure: "closed within the orb of Islam, [he] could never know the meaning of the terms tragedy and comedy," and recognises the absurdity of his "wanting to imagine what drama is without ever having suspected what a theatre is."

Indeed, he might easily have said that it is like trying to imagine what Islam is without ever visiting a mosque. Or, from the comfortable security of a liberal democracy, imagining what it might be like to live under a military regime.

For Borges, this is a story of otherness and alienation, of the paradox of a Spanish-born Arab who, exiled in Marrakesh, consoles himself with a pastoral image that reminds him of Cordoba.

You too! oh palm,
are Foreign to this soil...

Some scholars maintain Borges reveals the story as a symbol of defeat, a modernist expression of the folly of a man unfamiliar with the theatre trying to discover the meaning of tragedy and comedy. When Borges stops believing in Averroes, he simply disappears.

Yet more than anything it is about the difficulty we all have in forming a bridge between our own limited experience and our understanding of another culture. As T. S. Eliot says, "We have had the experience, but missed the meaning."

So the matter before us now is how to grasp that meaning, convert it to understanding and disarm the threat of the inevitable clash between what we're told is the West and Islam. Peace and our children's future depend on restoring the common ground between the great religions.

Like everyone else, Averroes is now online, albeit 800 years after his death. The website and fund for free thought which bears his Arabic name is available at www.ibn-rushd.org. The Ibn-Rushd Fund for Freedom of Thought "recognizes the philosopher's intellectual achievements, his independent interpretation of Islamic ideas, his tolerance of convictions and cultures differing from his own."

Indeed, historical evidence shows that the Islamic world played a significant role in the renaissance of the West through contact, discovery and cultural exchange. For instance, in the Middle Ages Europeans often sent their pupils to learn in Spain and Sicily, both Islamic communities. Averroes strongly influenced the seeds of European philosophy from the Middle Ages till the 16th century. Even outside his resuscitating work on Aristotle, Averroes was considered a great philosopher. He had many followers in intellectual Paris. Thomas Aquinas was heavily influenced by both only Aristotelianism and Platonism and he attempted to fuse Averroes' thoughts into his own system. This popularity soon irritated the Church and by 1270 Bishop Étienne Tempier of Paris condemned 13 propositions from Aristotle or Averroes as punishable by excommunication. At stake were the manner and extent of using Aristotle, 'the philosopher" and the Arabian Averroes, "the commentator," in explaining Christian theology. In 1277 Pope John XXI instructed the bishop to investigate the matter formally, and Averroes' works, along with those of Thomas Aquinas and other thinkers who had synthesized problems in Christian theology and philosophy, were condemned as anti-Christian. The later 13th century was congested with sternly corrective literature, and Bishop Tempier became a cardinal.

Even Thomas Aquinas became displeased with his Aristotelian commentator and identified heretical elements in his ideas. However, Aquinas is generally agreed to have moved the focus of Christian Scholastic philosophy from Plato to Aristotle, and so the commentator's influence endures. Indeed, in 14th century Italy, Averroes' adherents studied his writings over Aristotle. This trend continued until the 16th century Padova and put in place certain structures of modernism.

If you will permit me, I would like to indulge in a personal recollection as a means of demonstrating that the gulf may not be as wide as you may imagine.

I was born in 1960 in the village of Al-Idrissiya, in Algeria, where my grandfather was a Sufi preacher. I remember very clearly the year of 1967, when animosity between Israel and the Arab countries, under the leadership of Egypt, was at its height. The mood within the Arab countries was very tense, and Algeria was no exception, since the Algerian people used to follow the speeches of Nasser very attentively. At that time I was very young and I used to go to the only football pitch available in my home village. It may have been called Al-Idrissiya but its other name is Zenina, which local legend described as being either the surname of a Jewish woman, or of a Roman notable. There was a Jewish cemetery close to the football pitch, and sometimes the soccer ball would bounce into the cemetery. I and my fellow players took as much care as possible not to walk on any grave - out of respect for the dead, since Islamic traditions prohibit such acts, or any other kind of disrespect for any dead.

Looking back, it strikes me, wasn't that a beautiful example of tolerance? Despite the inflamed feelings against the state of Israel, the principles that my little buddies and I had been taught to hold dear never let us cross the line, or led us to act incorrectly against the symbols of another religion.

Now I am older and a lot wiser about the ways of the world - but the soccer games in Al-Idrissiya came back to me when I read what Edward Said wrote in his book, Orientalism. Sadly but forcefully, he made the point that Muslims - even when they were extremely angry - had never dared to insult the prophets of ancient Israel. We need to recall these things, now as many in the West see Islam as the enemy of civilisation and a byword for religious intolerance. In an interview, 20 years after the first publication of Orientalism Said noted that the situation had, if anything, worsened:

The West's almost obsessive emphasis on terrorism and fanaticism in the Arab world is a form of exorcism. They see it in Islam so they won't have to recognize that the same elements exist in their own societies, and in alarming levels.

In fact, Islam's relative tolerance stands in stark contrast to the attitude of many writers in the Western canon. For almost a thousand years the Chanson de Roland has perpetuated the notion that chivalric Roland's enemies were Muslims, instead of the Basques whom he and his men actually fought at Roncesvalles. Dante reserved a place for the Prophet Muhammad alongside Satan in Hell. Melville, in Moby Dick, ridicules Queequeg's observance of Ramadan and attempts to equate his faith with paganism and cannibalism. Even the normally compassionate Dickens, speaking of the Mogul Empire in the Christmas 1857 edition of Household Words, says, "I should do my utmost to exterminate the Race ... proceeding, with all convenient dispatch and merciful swiftness of execution, to blot it out of mankind and raze it off the face of the Earth."

Isolated and selective these examples may be, but they outweigh counter-examples of Islamic tolerance, forbearance and dignity. Even the best-known literary figure born into the Islamic faith offers little relief to this catalogue of infamy and oppressive cruelty. Othello is a Moor living in Venetian, and therefore Catholic, society. While Shakespeare does not directly allude to the faith of the "old black ram," with his "thick lips," "sooty bosom" and "foul charms," it is probable that he was born a Muslim but was a forced convert to Catholicism as part of his acculturation into Venetian society. And then, delicious irony, he is sent to fight the Ottomans on behalf of his Christian paymasters.

Isolated and selective these examples may be, but they outweigh counter-examples of Islamic tolerance, forbearance and dignity.

Let's move from literary to cultural representation and symbolism. If we exclude the Oil Blockade of 1973, the Iranian revolution, and the 11th September events, the image of Islam and Muslims in the Western psyche comes from a legacy of animosity shaped by a history of conflicts from the era of the Crusades until the colonial wars. Moreover we should also acknowledge that there were academic obstacles which contributed in propagating stereotypes against Islam and Muslims, for instance the orientalist movement linked to the colonial movement. Furthermore there are other psychological aspects inside the Western consciousness shaped by historical events and popular culture which enflamed the imagination vis-à-vis the "heretical" Muslim and the "barbarian" Turk.

Famous examples can be found in the writings from Martin Luther, also an anti-Semitic. Another example occurred when the Austrians succeeded in defeating the Turks in a 17th century battle. An Austrian warlord who owned a bakery invented a cake with the shape of a crescent: the croissant, as a symbol of defeating Muslims through eating their supposed symbol. Still today symbols play a decisive role through employing the image and the media. Like all important brands, Islam needed a colour. Red been previously assigned to communism, so somehow Islam is green, even though my knowledge of Islam and the history of Muslim civilisation and culture provides no evidence that green is a particularly Islamic colour. The problem is that nature abhors a vacuum so when Muslims are not represented, there is always somebody who will represent them and speak on their behalf.

In order to avoid unhelpful generalisation we must likewise underline that animosity was not always constant. The Dutch have a long history of cooperation with the Muslims, albeit against their common enemy, Spain. Moreover it is not surprising to find that the first countries acknowledging the independence of the United States of America were Morocco and Algeria.

So, if a thousand years of literature cannot help, where do we go to from here? The recent confrontations since September 11th tend to obscure the tentative steps we have made together. For truly, the beginning of the 20th century did witness the first, fledgling attempts to address a history of tragedies and confrontation between the monotheist religions - and this dialogue also included the representatives of Buddhism and Hinduism. In more recent times, the most encouraging stage of this process occurred in 1965, when the Catholic Church formally renounced the ancient "crime" held against the Jews for killing Jesus (peace be upon him).

This step underlined the fact that the Catholic Church had inaugurated a new era, in which dogmatism and history were no longer a barrier to dialogue between the sons of Abraham. Later on, various European countries such as Belgium and Scandinavian countries have recognized Islam as a national religion, a very important development.

Such recognition however was not unanimous. France, in contrast, is still caught up in its colonial legacy, as exemplified by its decision to place Islamic Affairs under the authority of the interior ministry in blatant contradiction of its secular principles. To Muslims, the practice seems to be the continuation of the colonial practices in Algeria, when the French authorities used to control mosques, name muftis and administer the Islamic properties until the independence of Algeria in 1962.

Historically, Islam pioneered the reciprocal recognition of the monotheist religions, Judaism and Christianity. It is a matter of record that the Holy Koran called for constructive dialogue with the people of the book, which is itself a respectable designation for Islamists, Jews and Christians. For centuries, the Arabic and Eastern churches were involved in discussion and building bridges with Muslims. So it should come as no surprise that today there are more than 10 million Arab Christians living side by side with their fellow Muslim countrymen.

We forget this common heritage at our peril, after September 11th. Yet there are numerous verses in the Koran that not only contain the names of the prophets of the Old Testament, but express praise for them, and for their actions. Furthermore the Holy Koran contains more than 120 verses about Jesus and the Virgin Mary, including details of the birth and early childhood of Jesus that do not appear in the Holy Bible but can be traced to a number of Christian apocryphal writings. These intertwined narratives of the people of the book include the palm tree which provides for the anguish of Mary after Jesus' birth (sura 19:22-26); the account of the infant Jesus creating birds from clay (sura 3:49) and the story of the baby Jesus talking (sura 19:29-33).

Even in Algeria, the country of my birth, interconnections like these define our history, even as modern conflicts seek to bury any sense of our common heritage. Yet we share the same impulses to worship, our prophets walked the same lands in the Middle East. We are all children of the book. It is a matter of fact that the Jewish and Christian presence in North Africa - to be precise, in Morocco and Algeria - precedes the Islamic presence, while numerous Berber tribes were converted to Judaism, of which the Algerian Queen Kahena is a notable example.

In much the same way, Christianity has had a visible presence in Algeria since the third century AD. In 2002 there was a scholarly conference about St Augustine - yes, a Christian saint, but also the Algerian saint who once lived in the Algerian city of Bon, or what is called Annaba today.

Near where I grew up was the Trappist Monastery of Tibherine, where monks of Our Lady of Atlas had lived in respect, peace and honour for centuries. Alas, in 1996 seven of these monks were kidnapped, used as bargaining tokens and beheaded by the GIA, a crime that has an unhappy familiarity today. The international community condemned the barbaric criminals, as did the villagers for whom the monks, like the statue of the Virgin Mary that overlooked our village, had simply always been part of our community. But the prior of the martyr-monks did not condemn, instead commending their "friends of the final moment" to "God whose face I see in yours"..."the God of both of us."

Unfortunately, these bonds between us are all but forgotten, as politics interferes in the dialogue between religions. This is especially so since the Cold War ended, a finalé that gave birth to many ethnic unrests and fundamentalisms - which, to be fair, are an understandable enough response. They represent the attempt to preserve national identities that are being threatened by the bulldozer of globalisation.

We need to be on guard that this quest to defend our identity does not become the justification for pre-emptive action against others.

The risk only underlines the fact that dialogue is more important than ever, especially now that Islam has a visible presence in the West, and Muslims display sometimes a different way of life that can obstruct their integration or assimilation into Western societies.

The value of dialogue is easy to under-rate. It seems slow, and its achievements so much less dramatic than the deadly outbursts of conflict. As a religious practice, it consists of the patient building of bridges, to peaceful co-existence between peoples and religions, linking experience and meaning, dissolving otherness - and constructing an understanding based on common interests and a shared history.

As a Muslim I have always believed in dialogue with anyone and everyone who shares a readiness for dialogue and peaceful coexistence. In my view, the essence of Islam resides in the verse: "O humankind! We created you from a single (pair) of a male and a female, and made you into nations and tribes, that ye may know each other (not that ye may despise each other)" (sura 49:13). We have to persevere. We have to show tolerance. And we must be prepared to set aside any resentment we may feel at treatment that seems unjust. Salaam. Peace.

Referenced works:

Bennabi, Malek. Les conditions de la renaissance: problems d'une civilisations. Societe d'Edition et de Communication. Algiers. 1992.

Borges, Jorge Luis. Labyrinths: Selected stories and other writings. New Directions Publishing Corporation. Buenos Aires. 1964.

Braudel, Fernand. The Mediterranean and the Mediterranean World in the Age of Phillip II. Harper and Row. New York. 1972.

Dante, Alighieri. The Divine Comedy, Vol. I: Inferno, Vol. II: Purgatory, Vol. III: Paradie. Mark Musa (trans). Harmondsworth: Penguin Classics. 1984.

Dickens, Charles. Selected Journalism 1850-1870. David Pascoe (ed). Penguin Classic. 1998.

Goldsmith, Sir James. The Trap. Carroll & Graf Publishers. New York. 1994. Lewis, Bernard. Europe and Islam. 1990 Tanner lecture.

Melville, Herman. Moby-Dick, Charles Child Walcutt (ed). New York: Bantam Books. 1981.

Meysin, Jean. The Right Wing in the Psychology Chair.

Roy, Oliver. The New Central Asia: the Creation of Nations. New York University Press. New York. 2000.

Said, Edward. Orientalism. Vintage Books. 1979.

Shakespeare, William. Othello. Folger Shakespeare Library, Washington Square Press. 2004.

Unknown. La Chanson de Roland. Ian Short (ed). Paris. 1990. Weber, Maximilian. The Protestant Ethic and the Spirit of Capitalism. Penguin Books. 2002.

www.ibn-rushd.org The Ibn-Rushd Fund for Freedom of Thought.

www.newamericancentury.org Project for a New American Century.

The politics of fear

by David Williams

Who would've thought it? We have the first $1 billion US presidential campaign and it turns out that George Bush's re-election fight is based on a bumper sticker!

You know the one. I used to see it when I was a kid, the one being said by a political chicken: "Less Taxes, Less Government = More Freedom".

Maybe I'm being a little facetious, but keep that sticker in mind when you read this from Bush:

You've got more money in your pocket as a result of the tax relief we passed and he (John Kerry) opposed.

If you have a child, you got a $1000 child credit. That's money in your pocket.

If you're married, we reduced the marriage penalty. The code ought to encourage marriage, not discourage marriage.

We created a 10 percent bracket to help lower-income Americans. A family of four making $40,000 received about $1,700 in tax relief.

It's your money. The way my opponent talks, he said, "We're going to spend the government's money." No, we're spending your money. And when you have more money in your pocket, you're able to better afford things you want.

I believe the role of government is to stand side by side with our citizens to help them realize their dreams, not tell citizens how to live their lives.


It's hard to sum up an election in one short passage, but while listening to President Bush yesterday I couldn't help thinking that quote could accurately portray where this campaign will be won or lost.

Depending on if you're a "glass half full" or "glass half empty" kind of person, you could see Bush's statement as optimism or propaganda. I see it as the latter, and in the president's words I see a message we'll have repeated over and over during the rest of the campaign - vote for me or all the money you've been given will be taken away. It's the basis of a campaign of fear and, considering what happened in Australia, that's a scary thought.

Being a Kiwi who's just moved to Australia, and therefore not being able to vote, I was in Melbourne for the Aussie election. Heading into Richmond at about 10pm on Saturday I stumbled across a freshly written sign (you could smell how fresh) painted on some poor, unfortunate's front wall. I can't remember the exact quote, but it is easily summed up by the last two words: "Fear wins".

As noted in The Economist, John Howard won his third term on fear of asylum seekers. It speculated he might win his fourth term on fear of rising interest rates. Apathetic people I spoke to said, "We didn't want to risk a change", "People are saying they're sick of changes. They're looking for stability". Yes, Howard detractors would have asked, but at what cost?

The same applies to America, but there is much, much more at stake. While Russell calls Sean Penn's open letter to Trey Parker and Matt Stone pompous, I think, in this context, his comments are worth revisiting.

I never mind being of service, in satire and silliness. I do mind when anybody who doesn't have a child, doesn't have a child at war, or isn't or won't be in harm's way themselves, is encouraging that there's "no shame in not voting" "if you don't know what you're talking about"...

It's all well to joke about me or whomever you choose. Not so well, to encourage irresponsibility that will ultimately lead to the disembowelment, mutilation, exploitation, and death of innocent people throughout the world.

The vote matters to them.


Leaving aside whether you support the tone of his letter, Sean's poison pen does ask every American what they think is at stake here, not just for them but for the rest of the world. Ask a former detainee of Guantanamo Bay's Camp X-Ray or Abu Ghraib prison in Iraq what this vote means to them and you won't get any apathy.

Back to the bumper sticker. I believe the cornerstone of Bush's campaign is based on fear and apathy. He's telling

Americans how much money he's stuffed into their pockets and he wants them to believe that if Kerry's elected it will all be taken away. That may in fact be true, but what the president isn't saying (at least, it's not something I've read) is how he intends to reduce the deficit in half by five years - his stated goal. Bush may attack Kerry for the costing of his policies, but his own level of detail was lacking in the third debate. All we got was: "It requires pro-growth policies that grow our economy and fiscal sanity in the halls of Congress."

In his address to the Republican National Convention, Bush urged the party faithful to check out his website. So, in need of an answer to this key question, I did. Last night, however, there was no such website.

So I shot over to the Whitehouse website. I struck gold! With a headline like "More to Do: The President's Plan to Create More Jobs, Security, and Opportunity in a Growing Economy" I thought I'd find a detailed breakdown of how Bush is going to pay for his economic policies. Instead, I found this six-point plan:

Allows families to plan for the future by making tax relief permanent.

Encourages investment and expansion by restraining Federal spending and reducing regulation.

Makes our country less dependent on foreign sources of energy through a comprehensive national energy policy.

Expands trade and levels the playing field to sell American goods and services across the globe.

Protects small business owners and workers from the explosion of frivolous lawsuits that threaten jobs across America.

Lowers the cost of health care for small businesses and working families through Association Health Plans, tax-free

Health Savings Accounts, tax credits for employer contributions to Health Savings Accounts, and Medical Liability Reform.


Again all I see is "spend, spend, spend", yet he's the one quibbling about whether Kerry's repeal of his "tax cuts for the rich" will amount to $600 billion or $800 billion. Why doesn't anyone ask where he's getting HIS money from, and how all this spending and deregulation is reducing the deficit HE'S responsible for?

More of a worry, quite frankly, are his thoughts on the role of government. (Remember, the bumper sticker read: "Less Taxes, Less Government = More Freedom".) Earlier, quoting from the debate, Bush said: government should "stand side by side with our citizens to help them realize their dreams, not tell citizens how to live their lives". Err, that's actually called anarchy George. And it's a special sort of economic anarchy that he proposes. Bush is proposing giving control of social security money to young people. Is he mad? Doesn't he know what young people do with their money?

(It's worth noting that Kerry was right when he said that Bush's taxes cuts favoured the richest 10% of the country. However he's no angel and made some errors himself.)

Unless people start listening to what is being said and caring about finding out the answers to basic questions, another election will be won on fear. And, at the risk of sounding like a broken record, at what cost?? Argh!

Just when I was about to pop a vein in my temple from frustration, the pressure was syphoned by a little gem, a little glittering light in the doom and gloom that is George Bush's election campaign. With a tension-easing chuckle, I found another bumper sticker which could adequately sum up Bush's campaign on this particular website: "Bush '04, Quagmire Accomplished".

Carmen for Beginners

by James Littlewood

It's been an interesting year for the opera company, the lamentably named NBRNZO (I'll shorten it to the more comprehensible NZO if that's ok thanks). After an admirably risky take on Donnizetti's The Elixir of Love which - I'm guessing - can't have helped the budget much due to its small audiences, they always knew that closing the season with Carmen would make up the shortfall. Elixir was interesting, by the way, ripped out of its 19th Century Italian village setting and plonked into a Californian high school in the hair-as-big-as-your-attitude 1980s.

I apologise for not including any links in this, by the way. I'm writing in a Balmoral cyber café. My machine's in storage, the auto-correct and auto-format functions on this machine are haywire, I don't have all my code tags to hand and the Indian family down the other end are game-blowing each other to smithereens, all of which is also hammering my now-famous capacity for typos and spelling errors. I need to leave this place.

Anyway, Carmen has got everything that its place at the top of the canon requires of it: death of the whore, the soldier's troubled heart, social judgment, a virile male sexual competitor and endless tunes that have worked their way into vast tracts of the collective unconscious. Sitting there soaking it up, you get the feeling that you know every single note from beginning to end. It's like listening to the Beatles. The fact that much of it is chocolate box corny just sort of goes with the territory.

It's not really corny. In addition to the above mentioned narrative components, Carmen has its fair share of grunty themes: security vs. freedom, society vs. anarchy, religion vs. paganism, and love of the mother vs. lust for the slag: good, healthy, workaday opera fair.

The peculiar thing about Carmen is the fact that while your Butterflies, Toscas, Traviatas and so on are generally good stories more-or-less well told, Henri Meilac's Carmen libretto is a total lemon, or to put it more politely, presents any production with apparently insurmountable challenges.

There is endless self description: 'People come, people go, we just sit' say the jolly soldiers. 'Everybody loves Carmen' sing the jolly ladies from the jolly fag factory. And it's true. Despite the push towards naturalism at the time it was written, the writers' adage 'show, don't tell' was clearly some way removed from Meilac's awareness. Carmen's libretto is so full of these self-explanations, it's a wonder anything actually happens at all.

Fortunately, these self-and-other descriptions get increasingly meaningful as Carmen and Don Jose pursue their misguided affair. 'Are you the devil?' Don Jose demands of Carmen. 'Yes, I am' she candidly replies. Later when he says 'Carmen, you're the devil!' she simply has to say 'I already told you that'. Does pathos include the simultaneous presentation of humour and tragedy?

So, just why does a ranking officer fall for the town bike? As the chorus have already informed us, everybody loves Carmen. This presents an immediate problem for both the main parts: since we already know Carmen must be hot, and that Don Jose - being a subset of 'everybody' - must therefore be in love with her, and since Bizet does such a killer job of playing out the sub-text in the score, this doesn't leave the artists on stage much room for their own inventions.

In the opening scenes, Rafael Davila as the soldier Don Jose does well to adopt a less-is-more approach. As Malcolm Maclaren paraphrased Carmen: 'if you love me, your love is not worth having/ It's the love I can't have that I really want, baby.' Whatever it is inside him that makes him fall for the seductress's spell, it's not explicit in the text. So artist and director either have to invent a motivation, or go for Carmen's (again, descriptive) line that her flower is magic. I wasn't buying the latter, and there ain't no former. In the absence of clear motivation, Davila's understated performance in the first half enables music, mise en scene and audience imagination do the rest. Nothing wrong with that.

Although his motivation is not explicit, there are some suggestive inferences which Davila ignores, allowing his early low-key delivery get out of hand. I've always thought the line 'A kiss from my mother!' should be dripping - raging - in angst, resulting from the fact that he's never really been that interested in the pretty girl from next door who delivers the kiss, and with whom he is now looking down the barrel of marriage. Further, Macaela can't even bring herself to kiss him without invoking his mother. He should be a boiling pit of confused desires at this point. And she should be playing the mother card for all it's worth, a poor relative of Carmen's more effective seductive arts. Davila never looks sufficiently uncomfortable in this passage.

Unfortunately for Jessie Raven, the words 'Carmen' and 'understated' tend to be mutually exclusive. It's a tricky entrance, due to the endless chorus descriptions of her character immediately beforehand. As descriptions go, it's a hard one for anyone to live up to, let alone your averagely well turned out operatic diva. Raven doesn't come up with much more than a predictable twang of a soldier's braces and a tweak of another's lapel.

It is slightly disappointing that the NZO has taken a soft option on a repertoire piece that will fill the house regardless. Not only that, but it's a soft option on a piece that - as everyone knows - is about one single thing: passion, of the unbridled, raw, gutsy, sweaty, animal variety (the high incidence of bosomy Carmenites in the audience amply confirmed this expectation ... unbelievable).

It's a lamentable fact that this opera disappoints in production more often than it satisfies. I've always thought that if she worked in a fag factory, for some reason her gums and teeth would be shot. Give us a Carmen that stinks of body fluids, please. A Carmen that works her beauty like an ironmonger works his bar. Give us a Carmen in which every body on stage is delirious with heat exhaustion and covered in sweaty filth, a setting with the heat of the planet Venus and the moral torpitude of hell.

Interval. Deep breaths. It's been a well-mannered affair so far, only occasionally impeding on the visceral humanity of the piece, and certainly giving the score a good outing.

Curtain up, we're in the mountains. As Don Jose moves inexorably away from his mama's boy comfort zone, Davila finds increasing opportunities to inject the passionate lust and desperate confusion that define the character, both in his voice and his presence. Similarly, Raven's Gypsey Carmen appears to take flight as she reclaims her happiness: mountains to roam, people to rob and a dutiful doughboy attending her whim and fancy.

As the leading couple's ironic differences escalate into insurmountable conflict, the performers get to dig in, and you get the feeling that they're finally liberated from the more polite conventions that dominate Jonathan Cocker's direction. Davila's voice starts to ring bells, and Raven produces a degree of energy, strength and poise hitherto absent. I guess I would too, if I was approaching the kind of wasted ending that rushes up to clobber Carmen.

Elizabeth Whiting's costumes do nothing to alleviate the production's good manners, strangely clothing Carmen in more - and tidier - fabric than her factory colleagues. John Verryt's sets lack the clarity of vision he usually achieves, although like the performances, all production elements seem to unite once we hit the mountains. It's as if the entire production requires the advanced narrative conflicts before it can produce its own coherent voice.

It's well worth the wait, because once everyone's pulling in the same direction, you can't help but let the music and the drama affect you. You'd have to be one mean bastard not to feel something for the girl who wants everything, and the man who wants nothing but the girl. Anyone who's ever fallen in love with the wrong person will recognise the horror all too well.

The clumsy writing kicks in again at the end. She dies, of course. Whoever said it ain't over till the fat lady sings had clearly never seen an opera. She'll sing alright, but it ain't really over till she dies. Carmen's end is more abrupt than most. It always takes me by surprise. Weird.

It's often said that this kind of opera was written at a time when naturalism was an emerging force in the arts and in theatre in particular. I don't doubt that, but it's also a comment that is often made to let productions off the hook, as if to say 'look, when this first came out, it was shocking! It showed real people. It had death, sex, murder and everything!'

The truth is that there has never really been a period in which realism was not a primary goal in art, but also that art has always changed the way it positions itself relative to the real, in order to reveal 'it' as some kind of truth, be it visually, conceptually or whatever.

In the late 19th Century, it may have been a function of showing real people's lives that the naturalist movement tended also to shock people. They weren't used to it. But the mere fact of shock itself should not be underestimated as a goal of art. As the art teacher in Six Feet Under (another kind of Gypsy) says, 'the most useful organ you have is your bowel, precisely because it's the furthest from your eyes. If you feel your art down there, you know you've got something.'

To rephrase, shock itself is a bodily confrontation with reality. Carmen the opera is populated by totally incomplete characters, who crave each others' and their own bodies as much out of pure boredom and opportunism as anything else. Follow that logic, and you'll shock people into suspended disbelief. Deny it, and you've got an adequate concert performance. It won't hide the powerful themes, but it won't drive the gutsy themes into the audience's viscera like it should, either.

Escalation of threats

by David Williams

It started well enough. When Ariel Sharon took over as Israel's Prime Minister in March 2001 he offered Palestinians the hand of peace, saying he was willing to make "painful compromises".

But, as Bill Clinton found out, peace in the Middle East is no easy feat. Still, there have been a few ticks on the "plus" side of the ledger.

In October 2002, US President George W Bush set out his road map to peace, which he hoped would bring an end to hostilities by 2005.

By the start of 2004, however, interest in the road map appeared to have waned. Cue Sharon, and a shock announcement that he plans to withdraw all Jewish settlements from the Gaza Strip. Hope springs again.

There have been setbacks - and when you're talking about the Middle East, you know that means the kind which are bathed in blood. Horrible suicide bombings, incursions into Palestinian refugee camps, the re-occupation of parts of the occupied territories, the second intifada, rockets fired into Israeli settlements, the assassination of key figures in militant Palestinian factions. And more. Neither side has a monopoly on suffering. Normal Israelis living in fear. Desperate Palestinians, humiliated and out of work. Death and slaughter the norm.

Occasionally things would seem better. Some who see the Israeli barrier as a positive will recall three months earlier this year during which there was only one suicide bombing which claimed the life of an Israeli. People who see the barrier as a negative will say it has allowed the Israelis to grab more land and further oppress the Palestinian people. They will also note a brutal operation in the Rafah refugee camp by Israel during this time and highlight international opposition to the wall, including a UN resolution.

Always on a knife-edge, this "peace process", sometimes punctuated by hope.

Like the proposed pullout in Gaza. I interviewed the Israeli spokesman in Washington, Mark Regev, some months back, not long after the World Court had ruled the Israeli barrier illegal. Aside from the standard rubbishing of the World Court and the UN, he told me that Sharon was resolute in pushing the Gaza pullout through, that he wanted peace and was just waiting for a viable peace partner to come to the bargaining table (I guess he means the Palestinian people without Yasser Arafat).

Oh how I wanted to believe! Through more rocket attacks, assassinations, military operations and suicide bombings I have clutched desperately to optimism.

This week, however, I am very troubled, with the weak and smashed body of optimism barely registering a pulse.

The first cause for alarm is a Haaretz story quoting Sharon's senior adviser, Dov Weisglass, as saying the Gaza pullout plan was meant to "freeze" the peace process.

I came to the story after seeing an item on CNN, in which Weisglass said his comments were "taken out of context". I assume he is referring to quotes like "The significance of the disengagement plan is the freezing of the peace process" and "effectively, this whole package called the Palestinian state, with all that it entails, has been removed indefinitely from our agenda". I think Mr Weisglass would be hard-pressed to show a "context" in which those comments could be taken more than one way.

Out of interest, this is the same Don Weisglass who wrote to US National Security Adviser Condoleezza Rice in April stating, on behalf of his prime minister, how the Israeli government remained committed to "the negotiation between the parties of a final status resolution of all outstanding issues".

The second item with a danger sign attached is a column by intelligence expert and author Gordon Thomas, who runs the globe-intel.net site. He asserts Israel is preparing for a pre-emptive strike on Iran and it turns out he's not the only one.

Israel has made a series of threats against Iran's nuclear programme lately.

Last month, Newsweek says Israel and the US were discussing a pre-emptive strike and were even war-gaming the possibility - although no one liked the predicted outcome.

Michael Costello of The Australian newspaper wrote a column under the headline "To survive, Israel will have to strike nuclear Iran".

And how about this loaded statement from Israeli Defence Minister Shaul Mofaz, stating Israel would consider "all options" in dealing with Iran?

It turns out Israel was declaring itself "ready" for such a strike as far back as July!

Political posturing or a signal of its intentions?

Israel has launched pre-emptive strikes before - bombing Iraq's Osirak nuclear reactor in June, 1981. First-strike offensives "have been an essential element of Israel's defensive doctrine for decades" says one Christian Science Monitor story - the most famous instance being the Israeli Air Force's destruction of Egyptian air bases to open the 1967 Arab-Israeli War.

In recent weeks, the rhetoric was turned up at the United Nations - a body generally loathed by Israelis - during which Foreign Minister Silvan Shalom told the general assembly that Iran was "the new Saddam". Not only does it threaten Israel, Shalom said, but it threatens "the security and stability of the whole world". And you remember what happened to Saddam...

Just when you think things can't get any worse, Iran apparently has a new missile which could reach London, Paris, Berlin and southern Russia and Israel is buying up the US's "bunker-buster" bombs by the hundred.

What about the influence of the US? Those who say the US has a leash on Israel must remember history doesn't lie (think: Osirak) and Sharon has made it clear (as far back as 2001 and as recently as last month) that he has no problem thumbing his nose at his American sponsors if Israel's national interest is at stake.

I understand Israel is surrounded by Arab countries (22, I think) and the region has a history of war. (I remember Mr Regev, the Israeli spokesman guy in Washington, telling me the possibility of a country like Iran having nuclear weapons was Israel's "worst nightmare". "That's jihadists with a bomb.") But haven't we learned anything yet? Doesn't that burning hole called Iraq tell us that rushing into things only makes things worse?

We relied on "intelligence" on WMD before. We've massed troops on the borders before - so much so that the Anglo-American coalition would have looked like sissies if they didn't go in (although some would say it was a fait accompli considering who was president and who his father was).

Diplomacy is not always the best option but it's a bloody good start, particularly when you're dealing with mullahs who are digging their toes firmly into the sand, the very sand that may be hiding a nuclear bomb. Much of the Arab world is already turning against us (the West) and if Israel strikes then that clash of civilisations that George W Bush is so careful of avoiding would easily come to pass.

Let's hope Israel stops this escalation of threats before it turns the region into full-blown war.