There's an instinctive awareness of evil these days. That means that people are reacting to evil as though it were some common occurrence. People used to shy away from evil, concocting all kinds of ways to deter it, or keep it away from them. Now, they court it.
I wrote to a correspondent:
I think the devil is really rearing his head, and it is not only Obama.
Look at this horrendous, ghoulish, un-artistic piece of "pizza" which this useless creature has produced as art. What lows we have reached.
I went to the Living Arts Centre Gallery a little while ago, not that thought I would find anything exceptional, but to see what's "cooking."
And I found the Pizza Party. Unbelievable.
I am working on a series of posts (here is The Aggression of the Alien (Alienated) Asian Artists: 1. Tammy Tang: Employing Less Materiality which I've completed) on Chinese artists in Mississauga, and the now clearly fetishistic admiration of Asians by whites, to the detriment of other whites. I have already noted in posts dating as far back as two years ago the Asian Female/White Male coupling, where white women are abandoned by these hypocritical, liberal, feminist white men (they are equally to blame in pushing the feminist agenda which has been the ruin of white women), but since they need "women" as their mates, not testosterone/estrogen filled monsters, they have found those savvy Asian women who know just how to trap them.
This "Pizza Party" guy, An Dy, from what I can gather, is a homosexual. The gallery curators are a bunch of feminist women. This particular show they curated is on "recent art school graduates," and they have disproportionately curated works by Asian artists. I emailed one of them what their criteria was, and she just sent me a link to the exhibition website. The white artists in the show have superior work, but I should say that the Asians are also good, but at a lower ability than the whites.
The Asians have also used their art to make "Asian" statements.
So, we are slowly being encroached by this aggressive, alienated, anti-white group, as I titled the blog article, which is also subtly inferior, and I also think envious. It is also strong.
The multi-culti rebellion (demonic war, I should call it) has reached a newer, more vicious, evil level.
Citizenship and Immigration Canada calls a certain type of immigrant "New Canadians." It is a strategy to make these groups "accepted" into Canadian society, but the question never arose to those who concocted the term whether these groups wants to be Canadians at all.
This family of Muslims, speaking the guttural Arabic language, were sitting behind me at the C-Cafe's patio. They didn't order anything from the cafe, but used the benches to camp out, and to eat the lunch they brought with them.
The woman is pregnant with a fourth child (a boy, this time?), and later on, she left with one of the children in a stroller, to take her to the daycare centre in front of the cafe.
These "new Canadians" will never be "old Canadians" but will carry with them, eternally, their Middle Eastern identity. They will pay lip service to Multiculturalism, but will have no desire to mingle with other ethnic groups to make that much touted "melting pot."
Such is multiculturalism. Canadians give everything away, each group of "new Canadians" take it all and keep it for themselves.
Tammy Tang In Sum Mattress, Salt, Vinegar [Source: Tammy Tang's tumbler page
Tang's title on this on-line version, In Sum, is different from the exhibition version at the Art Gallery of Mississauga, which is Hers Soul (see below for the image in the gallery). Why did Tang change the title? And why is her phrasing grammatically wrong? Is she trying to be one of those postmodern, witty, artists who love to "play with words" to make up for their artistic deficiencies? I tried to figure it out.
"Hers, Soul" with a comma might have made some sense as "Hers is her soul" but "Hers Soul?" I think it is simply a deficiency in language. It is a mistake.
Below is a photograph I took of the object in the Art Gallery of Mississauga, and the label below is also a shot from the show.
Tang explains her art in a written statement. Again, her writing is clumsy with small grammatical errors. I wonder if this is how Asians are to speak and write English, developing their own idioms? And Tang's writing is also filled with the cliches of postmodern art: "penetrable boundary," "ephemeral," "embrace the chaos."
My practice explores the penetrable boundary between the physical and the psychological, imperceptible nature of memory. Addressing the relationship between individual's internal feelings, struggles, and conflicts within the surroundings. Develop an ephemeral silence for the viewers to bear, reconfigure the role of uncertainty and embrace the chaos.
Yes, dump a mattress in an Art Gallery, and get the hijacked visitor to deal with that!
Tang cites the following three artists as influences on her "mattress" work:
I tried to find the connection between these artists and Tang's mattress, but, her choices are probably arbitrary, and based on some phrase or commentary they made on art, rather than their actual work.
This might be closer than the others, After all Tang gave us a dishevelled bed, which she tried to purify with vinegar (clean off the "dirt?"). As usual with contemporary, postmodern art, there is a subliminal, hidden sexual theme in the work.
Here is Kiki SMith's Born, where the rape begat the child, so everything is clean and good:
Kiki Smith (American, born Germany, 1954) Born, 2002. Lithograph, 68 x 56 in. (172.7 x 142.2 cm) Brooklyn Museum, Emily Winthrop Miles Fund, 2003
And Ann Hamilton's simple use of ordinary items may have caught her attention. But then, it could just be as simple as Hamilton's photography on the Mekong River, in the Orient (Laos), may have found something sympathetic in her.
Ann Hamilton From: Meditation Boat The abadoned walking meditation halls of Luang Praban's monasteries inspired the boat's form and function
It is interesting that Tang mentions no-where the King of the Mattress (or unmade bed): Rauchenberg! After all, he used a cast-off bed (like hers "found" futon) to construct his object.
Robert Rauschenberg Bed 1955 Oil and pencil on pillow, quilt, and sheet on wood supports, 6' 3 1/4" x 31 1/2" x 8" Museum of Modern Art, New York
But then, art history beyond the contemporary postmodernism, prior to say, 1995, would be too far back in time!
Here is is an article on four of the beds of the post-modern art era (unmade, unaesthetic, suggestive and even lewd, sexualized), with Rauschenberg's bed as the role model, and with the final line: "Here’s to adding to that history!"
I suppose Tang just might become part of that "history."
Or maybe she was thinking of John Lennon and Yoko Ono, that "avant garde artist" who did a Bed In right here in Canada!
Annie Liebovitz Photograph for Magazine Cover Rolling Stone January 22, 1981
“…Later that afternoon, John was murdered… The way these events played out is an excellent example of how circumstances change a picture. It’s like when you think of the picture and suddenly the photograph has a story”.
Annie Liebovitz is the lesbian photographer who bizarrely was "moved" by this multi-racial couple's "kiss" from Lennon's album cover Double Fantasy. What was it that turned her on? Not the kiss by two heterosexuals, but the unconventionality of the couple.
And rather than repeat this kiss, she went further and imagined them with their clothes off. Here she recounts her interaction with the two at the photo shoot.
So here is Tang's subconscious reference: Yoko Ono as a role model. An aggressive Asian to emulate!
But I believe the real reason that Tang creates such unaesthetic, formless art is because she has no images to emulate.
What does she do: Chinese art or Canadian art; Western art or Eastern art?
Chinese artists in the West have resumed their oriental practices and reproduced their Chinese art. But, their works are bland and repetitive. Others (a few) have tried to incorporate Western art and history into their work, but they don't maintain this for long. So, either they resume their Chinese art, or go the "modern" way, where art becomes a negative representation of society, dark, nihilistic, and critical. Their alien, and alienated, situation forces them in this direction.
I believe this is the direction that Tang has taken, where she feels compelled to create art, but has no subject matter, no images, to describe, reproduce and create.
She says as much here in her very brief biography:
Tammy Tang is a sculptress resides in ON(sic). She was born in Hong Kong. Tang studied Art and Art History, Sociology and Women Gender Studies at University of Toronto. Tang often used the found material as a medium in her work. As they carried significant histories and meanings from their past activities, they provided a rich sensation to the work...The majority of Tang's work reflects her critical view to social and environmental issues that derived from her personal experiences and struggles in the West and East. Tang's work now starting to focus on the employing of less materiality in order to give away a dense vision....
Tammy Tang, in front of her installation: This is Float, 2015, Salt, Food Colouring, Cheese Cloth, Various Glasses Containers
Exhibited at the student programHabitual at Sheridan College.
She describes the work thus:
I used the decomposition reaction in salt to create salt crystals that would represent a formation of human body. And the process of crystals decaying, when time goes by, symbolized human ashes formation after body being burnt on funeral pyre. The work becomes a model for acknowledging the inevitability of change in human life.
Whole Foods Market has a pleasant cafe, where I go to work on my computer. Each time I'm there, I am stunned by the multi-culti clientele, speaking a myriad of languages, not French, or German, or Dutch, but Arabic, the various Chinese languages, a selection from the Indian sub-continent, and so on.
Recently, Whole Foods put up a row of Canadian flags, and advertised an evening of hot dogs and other foods, to celebrate Canada Day.
I took the top photograph a couple of days ago, as the preparations were underway, to show the flags contrasting with the clientele.
Canada Day is just another day off, a paid day off, a statutory holiday. What better way to spend a summer's day than with picnics, barbecues, and a day in the park?
The photo below shows the usual clientele in Whole Foods (I took this photograph about three weeks ago, forgot about it, then found it in my files today).
- There is the now common sight of Muslim women with the headscarves. There is one woman in a white hijab in the foreground. - A group of young men (or women) who are often of similar ethnic background, be it Indian, Chinese, or black, congregate together and tour the malls and streets. These are men, in their teens or early twenties. - White groups are increasingly rare, and often come in pairs or in threes rather than the six or seven of the other groups - Indian or Chinese (East Asian) businessmen on cell phones speaking languages other than English are now a regular occurrence.
As all this happens, no-one says anything, no-one tells them to quiet down (their interactions are often loud), no-one finds it strange that we have to sit quietly and listen, except me, where I have now taken to confronting such behavior.
[Notes By KPA] This letter below is from a correspondent, who describes the Toronto of the 1970s (and into the early 80s).
The history of the Loyalists shows how different Canada and the United States are, which is how it should be despite all this Free Trade lingo, which puts us together with Third World Mexico! The anti-Americanism which the Canadian media (aka CBC), the stooge of the liberals and the Liberal Party, loves to spout is taken on in a healthy way by the ordinary Canadians, who love their flag, their foods (however few there are that are different from the Americans'), their holidays (next week is Canada Day, yes a reaction to Fourth of July, but still celebrated with gusto), and so on.
But, there is a unity with the US when it comes to the European heritage. And I strongly believe that this multicultural fetish is a "white guilt" thing.
He is very astutely observes that this "hate" or rather this identification of difference is projected into Quebec, and the endless wrangles we have with that Province. And I am actually a proponent of "freeing" Quebec. Let them deal with NAFTA, terrorism, the vaccillating currency, maintaining a First World way of life, WITHOUT dipping into the Canadian coffers. Let them do it alone. Cut off ALL the strings. VIVE LE QUEBEC LIBRE!
One more thing.
Question: Who are the HAPBS?!! (Confession: Sin of all Canadian Sins. I don't watch hockey!!)
Answer: Habs is an abbreviation of "les habitants," the informal name given to the original settlers of New France, dating back to the 17th Century. So it's a natural fit for the The Montreal Canadiens, established in 1909 and marketed as a French-Canadian hockey team.
Yep, even in hockey, there is the Quebec Narrative. So, my correspondent is insightful to view these hockey games as war-like rivalry to release those ancestral tensions.
Here is the email/letter:
Dear Kidist,
Good luck with the Hildebrand project. You're doing good work, even (especially) if the thought-police don't approve!
Mississauga really has changed. My father spent the last 10+ years of his career in Toronto (living in the City of Toronto itself from 1972 to 1983), and -- as a landed immigrant, not an illegal alien --I worked a lot of temp jobs in Toronto during school and university days. I got to know greater Toronto pretty well.
At the time Mississauga was a blue-collar to white-collar Canadian suburb, which is the say the inhabitants were Canadians. Friends of ours who lived there had been in Ontario from its beginnings: United Empire Loyalists who went north from New York after the American Revolution made New York an uncomfortable place for loyalists to live. We haven't been in touch with them for many years, but I suspect they have long since white-flown Mississauga for somewhere much farther out.
Toronto proper at that time had immigrant pockets, some (European; I remember particularly a Portuguese enclave) of fairly long standing, but was still preeminently a Canadian city, united by belief in the Leafs and hatred of the Habs. There was, however, a growing West Indian area which, perhaps coincidentally, was considered the most sketchy part of town.
I hope the Canadians wake up in time to salvage some Canadian Canada. But when I look at what Americans are accepting, and remember it was a Canadian government (Trudeau's Liberals from 1968 through the early '80s; not that Mulroney's Tories did anything to undo Liberal sabotage when they got in) that introduced the world to official multiculturalism and mandated racial and sexual diversity, it's hard to be too hopeful. So far, from what I see, Canadians have swallowed almost all of it without a peep, and tell themselves it's all a Good Thing. The only outlet English Canadians allow themselves is to be annoyed at the Quebecois - to go any further would be racist...
Please keep up your good work in the Great no-longer-so-White North!
This was posted on my building's elevator for about three days.
Then, it got abruptly changed to a "Happy Father's Day" sign.
The building has a majority of Indian and Chinese. I think the non-Muslim Indians complained.
The glories of multiculturalism! Where no-one gets along!
I keep saying that this building could well be the "home" of a future Jihadi "Canadian."
The elevator is filled with the smell of Indian spices. Under normal circumstances, that can be nice - as in an Indian restaurant which I choose to enter. But here, where we are forced to smell these spices in a confined space, it is stifling.
All the Indians I enter the elevator with speak some form of Indian language. All the Chinese I enter the elevator with speak a form of Chinese language. Even the children.
The few whites are often Polish or Hispanic (recent immigrants too), with heavily accented English.
I asked a white woman what she thought of the sign. She answered in what sounded like an East Coast Canadian accent. At least she was Canadian.
"Well, it's their holiday, is't it?"
"Do you think it belongs in Canada?"
She pursed her lips (not in disapproval, but in realization), and said nothing. Her young, blonde-haired son with her looked up startled.
An Indian family came in the elevator (which is already full, and they didn't think to wait for the next lift). The man said "hello," looking at me. I didn't respond. The young boy looked up, observant.
The Multi-Culti Smorgasbord at Whole Foods Market in Mississauga
Canadian Flags are decorating the store for the upcoming Candada Day on July 1. My table is the one where the chair is visible, at the bottom left of the photograph.
I was calmly getting ready to drink my coffee and work on my computer during one morning at the Mississuaga Whole Foods Market when a woman sat at the table in front of me and started to talk in some Asian language (I knew it was from the Indian sub-continent, but I couldn't identify it). Instead of telling her to stop talking so loudly (actually, to stop talking at all in that alien language), I started to bump my chair against hers. I did this partly because I was mad, and partly because she was talking in another language besides the English we speak in Canada, and I wasn't going to give her the courtesy of talking to her. She moved a little more forward, and kept on talking. I repeated the action. This got her attention, and she looked up and said "Excuse me" or some such thing.
"I don't like to hear your ugly language," I said to her.
"You don't have to listen to it," she replied.
I started to laugh. "So you agree it is ugly!"
"I didn't say that."
"Yes, you did!"
She went back to her cellphone.
I resumed bumping her chair.
"Can you stop!"
"Well, if you talk a little quieter!"
She knows the "language" of multiculturalism.
"This is Canada. This is multiculturalism. We can talk what we want!"
"No, this is Canada. We speak English!"
I continued to bump her chair.
She got up and left.
Soon after, a manager of some kind came over. He shook my hand.
"Hello, I'm Kevin. I understand you had a problem with one of my workers."
"Oh, I didn't realize she was your employee. Well, that makes it worse then, since she should know better. She was talking loudly in a foreign language and disturbing the peace, as I was drinking my coffee. She was also taking up the table for actual paying patrons."
K: I'm going to have to ask you refrain from treating my employees in such a manner in the future.
Me: Look, I apologize to you, and I don't like behaving like this, but what about her? What are you going to do about her?
K: I'll talk to her later. But, everyone can talk whatever language they want.
Kevin was mimicking the woman's response. He really does believe this!
Me: No, this is Canada. We are in an English-speaking country. We talk in English here.
Me: Also, how do I know what she's saying? She may be saying things about me, about you, that are negative or uncomplimentary. She could be maligning me. What are you going to do about her?!
K: Yes, well, she is very upset. She was on an international call.
I looked at him, and started to laugh. I think he began to realize that everything I was saying made sense. This woman was on a cellphone to a foreign country (probably Sri Lanka), holding a loud conversation in her foreign language in a Canadian restaurant.
Kevin had sat down, and seemed to want some kind of interaction with me, so I told him a little about myself, that I come to Whole Foods to have coffee and to use my laptop in this pleasant environment, that I take photographs, that I observe visually my surroundings, and that I am working on a book called Reclaiming Beauty. He seemed interested about my book, and was actually quite insightful, saying that probably materialism had a lot to do with the unattractive clothes people are wearing).
I then asked him: "Are you originally from Mississauga?"
K: Yes, Scarborough, actually.
Me: Do you still live there?
K: Well, we moved when I was younger to Markham, then to Halton. I've also lived in Ottawa. But I live around here now. My parents owned their home in Scarborough when I was growing up.
I looked at him and laughed again.
Scarborough used to be a middle-to-working class white English borough of Toronto. But, eventually, South Asian and African immigrants started to take over. White flight changed the neighborhoods, leaving them to immigrants from India, Sri Lanka, Ethiopia and Somalia, etc.
What Kevin was talking about is the white flight from the Toronto boroughs, where families started to move further out into smaller towns to avoid this invasion of foreign, non-English-speaking, people.
Whole Foods' junior staff is almost exclusively non-white. It is as though the managers decided that they were the only kinds of staff they would hire for that level (Out of charity? cheaper labor? Mandated by employment affirmative action policies? A combination of all that, I presume). But ALL the managers are white. I wonder if Kevin had a say in hiring this Sri Lankan woman, as though to expiate for his sins of his early days when he (must have) felt bitter and angry at having to leave Scarborough to get away from the Third World invasion of his home town.
I felt his relief as I was saying these things. Clearly no-one else has said, or dares to say, such things to him. His Orwellian world was temporarily cleared with our brief conversation.
At the end, I said, "I apologize to you for disrupting the peace of your lovely place. I don't usually behave this way, but this woman was clearly getting away with a lot. I'm not sorry for how I acted towards here. She had no desire to behave with courtesy, and with due respect to the patrons around her, and this is especially grievous as she is an employee of this store."
I then showed him a photograph I took of peonies on sale in the store (I've posted it below) and how one of the staff had given me the number for the marketing department at their head office to submit the photograph. I told him I take photographs as a way of recording my environment.
"That's a good shot," said Kevin. "So you observe things around you."
"Yes. And so you see, I do like this place. I want to show it in its best light!"
He shook my hand, and left.
Addendum:
I returned today (the next day), and there was a large group of Chinese, obviously there to "celebrate" Father's Day. They were interacting in Chinese. I put on my headphones and listened to music as I worked on my laptop and drank my coffee. I'm avoiding confrontations now, unless it's absolutely necessary. I feel that people are realizing what they're having to put up with. I think that I have more on my side than is apparent.
How wonderful Canada is! All kinds of people can just show up and sit in civilized, clean, pleasant coffee houses and restaurants and enjoy the good food and environment, and the pleasant holidays. And no-one will tell them to quiet down, or to speak English, or to follow the country's customs, or, God forbid, to be Canadian.
What do they have to offer in their glorious multiculturalism other than to pull us back to their failed societies and cultures, which they fled to come and live the good life here?
How long before we become another of their failures?
From: Kidist Paulos Asrat To: "rose.vespa@mississauga.ca" Cc: Marian Kutarna Sent: Wednesday, June 17, 2015 9:30 AM Subject: Author's program IN the Canadiana Room
Dear Ms. Vespa,
I am lodging a formal complaint regarding Marian Kutarna, who oversees bookings and events in the Canadiana Room [of the Mississauga Central Library].
Ms. Kutarna gave me no reason why she and the staff of the Canadiana Room were not willing to hold an event I proposed, which was to hold a conference for the book My Battle Against Hitler by Dietrich von Hildebrand, edited by John H. Crosby and John F. Crosby, who established a literary and cultural organization,The Hildebrand Project, and who would be the guest speakers. The book is already in the Mississauga Library system, which I had submitted several months ago.
1. Ms. Kutarna's interaction with me was rude and unprofessional.
She never responded to my numerous emails about my request to plan this event (I have copies of these emails for your reference).
I had to find her in person during her working hours at the Canadiana Room to get a response from her, which was a brief "The Canadiana Room has decided not to sponsor this event."
Still, I asked via email why the research room was not able to hold my event.
She gave no detailed response, but sent me an email to repeat what she said in person: That projects are taken on by the staff of the Canadiana Room, and that is the way events are planned.
This still didn't give me any explanation as to why the project I proposed was inadequate or incompatible with the room's policies.
As a taxpaying citizen of Mississauga, I believe I require more explanation for the use of the Canadiana Room, a facility which is run by my contributions, and for the benefit of citizens of the city, like me.
Therefore, after researching Ms. Kutarna's programs in the Central Library I have come to the following conclusion:
2. Ms. Kutarna is racially choosing the events that will take place in the room.
Literary and cultural occasions that involve non-white, non-Canadian, and non-Western persons take precedence over events that benefit white, Western, Canadian and European patrons.
I am therefore reporting Ms. Kutarna as racist towards these latter groups (white, Western, Canadian and European patrons). And I will bring this to the attention of the library's heads, as well as beyond. I will also write articles in the various city and regional papers to report on these biases by the Mississauga Central Library.
2. Because of Ms. Kutarna's decision, the Mississauga Central Library has lost the visit of an important contemporary historian, who has a wide influence in intellectual, academic, historical and religious spheres, both here and in the United States, and of course for the Mississauga Library system as a whole.
3. The topic of the conference, and the presentation in the Canadiana Room would have included World War II, and how an astute German citizen was able to discern Hitler's maneuvers before many others realized Hitler's gotterdammerung aims, and how that is relevant in our era where Christianity and the West is being undermined by another remorseless enemy, Islam. Such discussion is of paramount importance to all patrons of the library who wish to preserve the West and its sophisticated culture and civilization.
Hildebrand also realized the vicious anti-Semitism of Hitler and the Nazis, and as a parallel behavior by Muslims, we are seeing a frightening rise in anti-Semitism and anti-Israel movements amongst Muslims and Islamic countries.
Here is my perspective on the contemporary lessons we can learn from Hildebrand: The Dangers of Quietism: A Contemporary View
4. This conference is going on ahead the assistance of the University of Toronto. The Hildebrand team will be coming to Canada, but all the doors have been closed off for the Mississauga Library system, and I will make sure that they will remain so.
This will deprive your library's patrons of the insights, intellect and vast amount of information that the Crosbys would have brought to Mississauga and its citizens.
If Ms. Kutarna wishes to hold her events for isolated, narrow, ethnic groups, who have no desire to attend each others' events (do Hindu Indians really attend events by Muslim Indians, and do Somalis have any interest in what Ethiopians present?), she is welcome to do so. But her "multicultural" agenda is fragmentary and exclusive. I am sure some time in the future, an angry Somali or Muslim Indian will question the methods of her "community" education.
True Canadians are interested in the depth and breadth of their history, even it it reveals some unsavory moments. The Hildebrand Project and its leaders are unafraid to tackle such issues, and I will assist them to do so to the best of my ability.
Sincerely,
Kidist Paulos Asrat
nb: I received the exact same email a few days ago. I believe Ms. Kutarna simply forgot that she had sent me the first email, and just simply re-sent the second one. She had already established that she wouldn't assist me in planning and holding the conference in the Candadiana Room.
Working in the patio of the C-Cafe (The Library is just ahead, behind the fountains)
Meena Chopra: Poetess, Artist, Oriental Goddess Par Excellence
I started a small project, which should have been simple enough, but I entered territory which I thought I had long abandoned: that of directly confronting liberal Canada. And I quickly realized how far worse things had become.
There are two universities nearby: Sheridan College and The University of Toronto's Mississauga campus. The schools were accommodating enough, telling me to fill in forms, and giving me the rates for renting out rooms for the event.
Then I went to the cultural centers, including the Art Gallery of Mississauga, which provide meeting rooms for lease. I thought having the lecture in the middle of paintings and sculptures would accentuate the concept of beauty.
I also visited parks, gardens and nature conservations, which also earn some of their keep through leasing out their halls. Beauty, art and nature seemed a fitting combination.
There is also a large branch of Mississauga's public library, and it was the Canadiana Room, a small research center in the library which caught my attention. I had submitted the Crosby book to be included in the library's collections, and I thought that having them lecture in the library would be fitting.
The library's website presents the Canadiana Room thus:
The Canadiana Reading Room, located on the 3rd floor of Mississauga Central Library, offers in-depth research resources for the study of Mississauga history, as well as extensive material on early Ontario history and selected Canadian history.
Besides its unique collections, the room has chairs, tables and book cases of pleasant light brown wood. The room is almost always empty, unlike the rest of the library which is full of patrons of mostly students preparing for their classes.
Marian Kutarna, who as far as I can tell is "Manager: Arts and History Department" of the library, although there appears to be someone of higher authority than her, was apparently the one to interact with when booking this room. And she is important not because she finds empty spaces in the booking manual, but because she decides who gets in and who doesn't.
She is cleverly stupid, as all fascistic gate-keepers are, especially if they are trying to be the "good guys." I realized quikcly, for instance, that she was trying to avoid an "email trial."
I sent her at least three emails at the beginning, and she never answered any of them. I then kept returning to the Canadiana room, to ask her various assistants (and volunteers - libraries love to use their hapless patrons as "volunteers") what I should expect, and also to do some independent research. I got mixed-messages from her assistants: "She is in a meeting" and hopeful ones: "We're taking this project on," and still nothing, until I figured out the hours she worked, and went at those times.
She was effusive, friendly and fake. I caught on, and asked if she would email me the reasons why she wouldn't have the event in the room, especially since, through some research in the library's database, I found that the Canadiana Room had sponsored and organized other author talks. And these authors are primarily non-white and non-Western.
So that was probably my answer. And that was probably why Kutarna was trying to keep her email track as bare as possible, to avoid just the kinds of questions I was asking her. But, her stupidity is apparent, since lack of a response is just as incriminating as giving a response, and maybe more so.
But I think that her silence was actually her inability to respond to me. "How can a brown-skinned person (me) praise the West so openly and follow its exmaples so directly? Who is this creature! She is even worse than those racist whites, since how can she be racist towards her own race!!" Hence her debilitating (I think) inaction.
I finally got a few emails from her. In the first, she said that the Canadiana Room is not "a bookable public space." It is a bookable space, though, with the agenda of its staff. I said as much, and left her with "I will take the matter further."
I sent an email to the library's grievance committee saying I would like to report a complaint, but left it at that. Kutarna seems to have been updated with all my communications with other departments regarding room bookings. And she made me sound like some kind of furtive criminal, where in the first of her emails she wrote, "I know that you have reached out to City and Library staff, including myself, to identify a possible venue for your event." So she will know about my report. But I don't have time to pursue my complaint. The library will continue to decline and wither as it accommodates itself to special interest ethnic groups. And I will avoid going there. I go there very rarely, anyway, and there are a myriad of other ways to do research, and to borrow books, in this modern, technological age.
Kutarna is of course reacting to my "Western Civilization" program which doesn't fit in with this now depressingly prevalent "inclusive" ideology that dominates all cultural discussions in Canada, and the West. And what this really means is restricting and reducing anything related to whites and the West to give priority to non-whites. And Kutarna has grasped on to this multicultural ideology full on.
As with all the fascist, white females of our era, Kutarna is a pathetic creature. She is many pounds over-weight, which affects everything about her, from the lop-sided fit of her dresses to her unattractive haircut. She will blame this on the West and whites, since they are the ones who produced this horrible world which makes people like her suffer (and gain weight) by putting so much importance on appearance!
So, she turns to those ethnics, those brown-skinned people, who are so poetic, so artistic, so vibrant, so beautiful, so real. They become her mentors, allies and examples, being so kind and sensitive, and so ready to give. Of course, this is only her illusion, since their priority is to their own, and try as she might, she can never be part of them.
And I found in my online investigation of her, this gem of a video, where she sings her praises to the ethnics of Canada, and one in particular, in just five minutes.
In the video below, Kutarna is bestowing her reverence to the goddess-poetess Meena Chopra who is a Canada-based (Canadian national) Indian, who writes poetry. Chopra was honored in 2010 in an event in the Mississauga Central Library (not in the Canadiana Room, which would have been too small for that event) titled "A Multilingual Poetry Celebration and Book Launch" as she read from her book amidst Indian dignitaries, as well as Kutarna who gave a speech (excerpted below).
An excerpt from the above video of Kutarna's speech:
I have to say something. Meena taught me something...We were on the phone last Fall talking about doing this workshop, celebration. And I said "Meena, read me a poem, read me a poem" [hand gestures, which look like Indian hand gestures]. "She said: 'But they're in Hindi!' "Read me a poem" [Kutarna's voice increases in pitch - (and desperation?)]. She read me a poem, and this is what I learned. The sound of a language is poetry. The human heart is the same heart in all of us.
For Kutarna, we don't need to know what the exotic, foreign poet is saying. It is sufficient, nay, holy, to simply hear the sounds he makes. We don't need to understand this sacred other since we can feel his specialness, just by the way he utters his words.
And Chopra is the Indian, Third World Goddess that has evoked Kutarna's awe and wonder.
And Chopra knows this. She and her world are systematically undermining and curtailing the white West's civilization. She says so, clearly, in this presentation:
World is transitioning into a global village where English language is taking the front seat but not in a traditional British, American or any other way. [I suspect the grammatical deficiency might be because these are the notes she was reading at the lecture, but submitting that for publication is lax and lazy.
She then continues to talk of the "visual" importance of modern-day communications, neglecting the small fact that she is reciting her poetry in words, and specifically her Hindi words, to make a linguistic point.
But, rather than talk about this usurpation of the English language by non-Anglo worlds, and discussing their variations on the English language, including the addition of many non-English words, she deviates from this by writing:
The biggest influence on new English is of the technological culture and the dynamism of the young who are the creative compelling users of technology.
(I should add here that Chopra's written text is probably the notes she was reading from at the lecture. And for a literary person, one would expect her final version of her transcript that she sends for publication not to include so many errors).
She says that now, since the English language has become this universal world language, and where the Third World has appropriated it to suit its cultural needs, a new generation is using it in a very different, visual way.
I don't think Chopra knows what she's talking about. She doesn't have a well thought-out thesis, and seems to support at times the linguistic idea and at others the visual one.
At another installation of this post, I will write (as I have written previously, but less forcefully) about the intellectual laxness of these non-Western sophisticates.
But they have come to squat, invasion style, in a world which they incessantly criticize, but which is a world replete with sophistications (such as first-class libraries where they can shelve their books so others can easily find them and read them) for which they are willing to immigrate thousands of miles.
Kutarna with Chopra, holding Chopra's book of poems Ignited Lines
I find Chopra uncomfortable with the effusive admiration from Kutarna, who stands grinning obliviously
Chopra is of course a seasoned ethnicist, who has used Candada's infrastructure to its maximum. She is "Friend of the Library" at its most opportunistic.
Below is Chopra reading a poem with those special sounds.
And Chopra also promotes herself as a visual artist. I suppose this is where she empathizes with the world of the "young" where she continues with the presentation I've quoted above:
The idiom and syntax are changing fast.
Manifestation of the subtle thought imaging is taking over directly from the mental sound vibrations in a language where we have started expressing in symbols like smilyes, pictograms and info-graphics etc.
I remember seeing a collection of Chopra's paintings and drawings at the Living Arts Centre here in Mississauga. The center is trying to promote the various arts, and has a full-scale concert hall, a gallery, and various artists' workshops. It is quite a formidable building. I saw Chopra's work hanging somewhere in the gallery, and looking online, I realized it was at the LIVE Restaurant, which is mostly used for after-concert meals and refreshments.
The center, including the restaurant, is partially funded by government grants, and is losing money, and is accepting all kinds of bizarre events to cover its costs. One recent one was a body builders gathering, where strange, inflated creatures were wandering around the hallway. Another is to hold various ethnic festivals, and their program includes a recent presentation by a Chinese circus and an Indian event to celebrate one of their gods. Chopra's program fits that bill.
I couldn't find much online on her paintings at the center, so I went back to LIVE Restaurant, and indeed, there were Chopra's works.
Her show is titled:
"SHE: A Restless Streak" Art Show by Meena Chopra CELEBRATING THE SPIRIT OF WOMANHOOD
And it is:
At "Live Cuisine" at Living Arts Centre Mississauga from March 9, 2015 until May 25, 2015. 4141 Living Arts Drive, Mississauga, Ontario Mississauga, Ontario L5B
9thMarch to 25th May 10:30am to 5:30pm everyday
Below is a drawing hanging at the LIVE restaurant, but which I also found online. The photograph of her paintings hanging in the restaurant is what I took, as well as the view of the LIVE restaurant's entrance.
Drawing: Meena Chopra Pastel on paper 11'x8" From Chopra's series: She: A Restless Streak
Poem Excerpt from Chopra's poem Iconoclast (full poem below) The real in her longs to be revealed through layers seeking identifications undraped in a figureless formless existence.
Iconoclast Is she a vase or a statue on a pedestal ?
She is no icon!
Her feet strong firm on ground. The earth supports her. The real in her longs to be revealed through layers seeking identifications undraped in a figureless formless existence.
In vain, she searches - an iconoclast, beyond the turbidity of love.
Will she find one in you ?
Is this the forceful Hindu Goddess, the statue on a pedestal, that Kutarna is looking for? Will she find this figureless, formless, elusive creature?
Chopra may present herself as a modern, progressive oriental with Western ideas. But, as we look deeper into her thoughts, she remains much more Indian than Western. And she is not forthright with Kutarna, whom she will surely abandon when her authentic "identity" trumps pleasantries, leaving Kutarna with nothing but those incomprehensible sounds.
Art and Gastronomie
Chopra's works hanging above wine glasses and folded napkins: the epitome of Western sophistication, but with the Eastern content
Hanging here are oil paintings "Hope" and "Afloat" and selling for $285.
An Indian Woman at the LIVE Restaurant
At one time (about a year ago) the restaurant had changed its buffet style menu from an exclusively European menu and had added one or two Indian dishes. I asked recently about booking the restaurant, and found out that one of the chefs was Indian. When I looked at the buffet, the menu included only one Indian dish, and that was a simple chickpea dip. I asked to meet the chef to inquire about group rates, and was introduced to what looked like a cook. "You can order anything you want. Yes, we can do Indian dishes, butter chicken, anything."
My conclusion was that the attempt to turn this wonderful little place into an Indian/Ethnic restaurant didn't work. How many folk festivals are there going to be, and how many are "inclusive" enough to attract a wider audience than just Indians?
Chopra's work is hardly that of the goddess/artist of Kutarna's eulogy. She has managed to convince the ethnicist Indians who still require the admiration of white Canadians - and they got one at least via Kutarna, and those multi-culti whites who still run the organizations that she is worthy of their attention. And, following the multi-culti/ethnicist recipe, that is not hard to to. I don't doubt that Chopra has artistic ability, but she wouldn't have reached such a level of recognition hadn't she had all these underlying "qualities."
At the same time as Chopra's presence in downtown Mississauga, there is a photography exhibit in the Living Arts Centre by David Hook, a photographer based in Mississauga. The show is titled: Southern Ontario Mill Ruins. It looks like Chopra's attempted prediction of the decline of Western civilization is being admitted by whites. But it is more complex than that. When artists begin to realize that their civilization is in decline, and they begin to document what they have, as well as what is being lost, I think it is a good sign. It means that they may be more alert and aware of their surroundings, and will ask difficult questions such as "Why are we losing all this?" and "What is causing that?" And from there, some kind of action can originate. At least, that is what I hope.
The photocopied paper describing this exhibition has a quote by Hook:
"Here in Southern Ontario, we don't have many of the features that are common elements in landscape photography such as tall mountain ranges or ocean scenes. Yet Southern Ontario has a beauty all of its own. We many not have the historic ruins that you find in Europe, but we have our history to be captured here. My goal is to seek out and capture the hidden beauty in Southern Ontario that many may take for granted."
How different that is from Chopra's world (which I quoted above with its grammatical inaccuracies), which is:
...transitioning into a global village where English language is taking the front seat but not in a traditional British, American or any other way.
The narcissistic "identity" Chopra is seeking is obvious, as she describes it in the quote by her also in this photocopied program:
"My art is my search for the moments beyond the ones of self knowledge. It is the rhythmic fantasy; a restless streak which looks for its own fulfillment! A stillness that moves within! An intense search for my origin and ultimate identity."
And Chopra adds more of her inner "conflicts" here, where she is constantly trying to recreate that origin and identity transplanted from a foreign place into a Canada she never is able to call home and where she is never able to be at peace:
Serene surroundings of my birth place Nainital a hill resort in India have been a source of inspiration to me always. Strangely enough the beauty of Canada reminds me of my birth place a lot. Significantly the immenseness of the sky, the glory of the setting sun with its ever-changing colors and the unlimited wide expanse of the earth stills my nature within.
And more ominously, here is an excerpt of Chopra's poem Fire:
Dreams tumble from unknown heights into a dark pit devoured by the hunger for light. A vast ultimate flux of shadows adrift, a sea of hidden fire, rises with a smoky thread to reach the hearts of early desires"
Such are the aliens that are now populating our land, changing it more aggressively and determinedly than ever, and with all the Kutarna's on their side.
We have a battle, although I would say it is a war, ahead of us.
Below is a photograph by David Hook, which he titles Turnbull Mill Ruins.
David Hook Turnbull Mill Ruins, Cambridge, Ontario, 2014 More of Hook's photography here
Hook may be photographing ruins, but it is to capture history. His quest is not a relocation to a far-off, abandoned place, but one closer geographically. It is not the fantasy land that Chopra is recreating, but something more real and tangible. His ruins give us a sense of the past, to bring into the present and to create for the future.
Chopra vacillates between heights and dark pits, to find her "identity" with a "hunger for light." She is for ever in an elusive, intangible ephemera. It is not a narcissist's quest what she is in, but a rootlessness that must be common to so many like her, now populating the urban and even rural landscapes of our lands.
I continued to work for several weeks researching conference locations, contacting groups and institutions, and communicating with individuals to prepare the conference for the Hildebrand project leaders. I wrote asking them if they were interested in coming to Mississauga to present their book and their ideas.
Here is a couple of the emails I received from their office:
I have not heard an official word from either of the Crosbys yet about this opportunity, however, we have been in the midst of creating a master list for speaking opportunities just like this. Your name specifically was passed along and I hope to be able to confirm this opportunity with you soon. I contacted the leads for this project today updating them of the venues you are currently in contact with. I will communicate with you any updates that are given.
Thank you again for reaching out and being in contact with businesses and communities near you. I look forward to seeing how everything is able to come together. Meanwhile, please do continue to contact me if there are any more updates on your end.
And a little later on:
Thank you for the valiant efforts you have taken to organize a speaking event for the Crosbys. It has certainly been an inspiration for me and our staff. We have been deliberating away about possibilities and I have forwarded all of your plans and possibilities for the event. We are currently in dialogue with another Canadian friend and close friend of the Hildebrand Project who is assisting us in arranging everything. We will be in contact again with you very soon with more detail.
And the last one (in late May), was a short, optimistic one:
I...look forward to ...seeing how everything plays out. Many good things are stirring!
My hard work seems to be paying off.
Mississauga's Civic Centre, with Magnolia Trees in Spring [Photo By KPA]
