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53335
From: akira, [DNS_Address]
Subject: The Zone of Interest is about the danger of ignoring atrocities
URL: https://www.theguardian.com/commentisfree/2024/mar/14/the-zone-of-interest-auschwitz-gaza-genocide
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Has anyone else here watched it? The Zone of Interest is about the danger of ignoring atrocities – including in Gaza Naomi Klein "If Jonathan Glazer’s brave Oscar acceptance speech made you uncomfortable, that was the point Thu 14 Mar 2024 It’s an Oscar tradition: a serious political speech pierces the bubble of glamour and self-congratulation. Warring responses ensue. Some proclaim the speech an example of artists at their culture-shifting best; others an egotistical usurpation of an otherwise celebratory night. Then everyone moves on. Yet I suspect that the impact of Jonathan Glazer’s time-stopping speech at last Sunday’s Academy Awards will be significantly more lasting, with its meaning and import analyzed for many years to come. László Nemes (left) and Jonathan Glazer. Jonathan Glazer’s Oscars speech condemned by Son of Saul director: ‘He should have stayed silent’ Read more Glazer was accepting the award for best international film for The Zone of Interest, which is inspired by the real life of Rudolf Höss, commandant of the Auschwitz concentration camp. The film follows Höss’s idyllic domestic life with his wife and children, which unfolds in a stately home and garden immediately adjacent to the concentration camp. Glazer has described his characters not as monsters but as “non-thinking, bourgeois, aspirational- careerist horrors”, people who manage to turn profound evil into white noise. Before Sunday’s ceremony, Zone had already been heralded by several deities of the film world. Alfonso Cuarón, the Oscar-winning director of Roma, called it “probably the most important film of this century”. Steven Spielberg declared it “the best Holocaust movie I’ve witnessed since my own” – a reference to Schindler’s List, which swept the Oscars 30 years ago. But while Schindler List’s triumph represented a moment of profound validation and unity for the mainstream Jewish community, Zone arrives at a very different juncture. Debates are raging about how the Nazi atrocities should be remembered: should the Holocaust be seen exclusively as a Jewish catastrophe, or something more universal, with greater recognition for all the groups targeted for extermination? Was the Holocaust a unique rupture in European history, or a homecoming of earlier colonial genocides, along with a return of the techniques, logics and bogus race theories they developed and deployed? Does “never again” mean never again to anyone, or never again to the Jews, a pledge for which Israel is imagined as a kind of untouchable guarantee? These wars over universalism, proprietary trauma, exceptionalism and comparison are at the heart of South Africa’s landmark genocide case against Israel at the international court of justice, and they are also ripping through Jewish communities, congregations and families around the world. In one action-packed minute, and in our moment of stifling self-censorship, Glazer fearlessly took clear positions on each of these controversies. “All our choices were made to reflect and confront us in the present – not to say, ‘Look what they did then’; rather, ‘Look what we do now,’” Glazer said, quickly dispatching with the notion that comparing present-day horrors to Nazi crimes is inherently minimizing or relativizing, and leaving no doubt that his explicit intention was to draw out continuities between the monstrous past and our monstrous present. And he went further: “We stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of 7 October in Israel or the ongoing attack on Gaza.” For Glazer, Israel does not get a pass, nor is it ethical to use intergenerational Jewish trauma from the Holocaust as justification or cover for atrocities committed by the Israeli state today. Others have made these points before, of course, and many have paid dearly, particularly if they are Palestinian, Arab, or Muslim. Glazer, interestingly, dropped his rhetorical bombs protected by the identity-equivalent of a suit of armor, standing before the glittering crowd as a successful white Jewish man – flanked by two other successful white Jewish men – who had, together, just made a film about the Holocaust. And that phalanx of privilege still didn’t save him from the flood of smears and distortions that misrepresented his words to wrongly claim that he had repudiated his Jewishness, which only served to underline Glazer’s point about those who turn victimhood into a weapon. 96th Academy Awards - Oscars Show - Hollywood Director Jonathan Glazer wins the Oscar for Best International Feature Film for "The Zone of Interest" of United Kingdom during the Oscars show at the 96th Academy Awards in Hollywood, Los Angeles, California, U.S., March 10, 2024. REUTERS/Mike Blake ‘We refute our Jewishness and the Holocaust being hijacked’: Jonathan Glazer calls for end to Gaza attacks at Oscars Read more Equally significant was what we might think of as the speech’s meta-context: what preceded it and immediately followed. Those who only watched clips online missed this part of the experience, and that’s too bad. Because as soon as Glazer wrapped up his speech – dedicating the award to Aleksandra Bystroń-Kołodziejczyk, a Polish woman who secretly fed Auschwitz prisoners and fought the Nazis as a member of the Polish underground army – out came actors Ryan Gosling and Emily Blunt. Without so much as a commercial break to allow us to emotionally recover, we were instantly jettisoned into a “Barbenheimer” bit, with Gosling telling Blunt that her film about the invention of a weapon of mass destruction had ridden Barbie’s pink coat tails to box-office success, and Blunt accusing Gosling of painting on his abs. At first, I feared that this impossible juxtaposition would undercut Glazer’s intervention: how could the mournful and wrenching realities he had just invoked coexist with that kind of California high-school prom energy? Then it hit me: like the fuming defenders of Israel’s “right to defend itself”, the sparkly artifice that encased the speech was also helping to make his point. “Genocide becomes ambient to their lives”: that is how Glazer has described the atmosphere he attempted to capture in his film, in which his characters attend to their daily dramas – sleepless kids, a hard-to-please mother, casual infidelities – in the shadow of smokestacks belching out human remains. It’s not that these people don’t know that an industrial-scale killing machine whirs just beyond their garden wall. They have simply learned to lead contented lives with ambient genocide. It is this that feels most contemporary, most of this terrible moment, about Glazer’s staggering film. More than five months into the daily slaughter in Gaza, and with Israel brazenly ignoring the orders of the international court of justice, and western governments gently scolding Israel while shipping it more arms, genocide is becoming ambient once more – at least for those of us fortunate enough to live on the safe sides of the many walls that carve up our world. We face the risk of it grinding on, becoming the soundtrack of modern life. Not even the main event. Glazer has repeatedly stressed that his film’s subject is not the Holocaust, with its well-known horrors and historical particularities, but something more enduring and pervasive: the human capacity to live with holocausts and other atrocities, to make peace with them, draw benefit from them. When the film premiered last May, before Hamas’s 7 October attack and before Israel’s unending assault on Gaza, this was a thought experiment that could be contemplated with a degree of intellectual distance. The audience members at the Cannes film festival who gave The Zone of Interest a rapturous six-minute standing ovation likely felt safe toying with Glazer’s challenge. Perhaps some looked out at the azure Mediterranean and considered how they had themselves gotten comfortable with, even uninterested in, news of boats packed with desperate people being left to drown just down the coast. Or maybe they thought about the private jets they had taken to France, and the way flight emissions are entangled in the disappearance of food sources for impoverished people far away, or the extinction of species, or the potential disappearance of entire nations. Glazer wanted his film to provoke these kinds of uneasy thoughts. He has said that he saw “the darkening world around us, and I had a feeling I had to do something about our similarities to the perpetrators rather than the victims.” He wanted to remind us that annihilation is never as far away as we might think. But by the time Zone made it into theatres in December, Glazer’s subtle challenge for audiences to contemplate their inner Hösses cut a lot closer to the bone. Most artists try desperately to tap into the zeitgeist, but Zone, whose theatrical release has been muted given the initial response, may well have suffered from something rare in the history of cinema: a surplus of relevance, an oversupply of up-to-the-minuteness. One of the film’s most memorable scenes comes when a package filled with clothing and lingerie stolen from the camp’s prisoners arrives at the Höss home. The commandant’s wife, Hedwig (played almost too convincingly by Sandra Hüller), decrees that everyone, including the servants, can choose one item. She keeps a fur coat for herself, even trying on the lipstick she finds in a pocket. Everyone I know who has seen the film can think of little but Gaza It is the intimacy of the entanglements with the dead that are so chilling. And I have no idea how anyone can watch that scene and not think of the Israeli soldiers who have filmed themselves rifling through the lingerie of Palestinians whose homes they are occupying in Gaza, or boasting of stealing shoes and jewelry for their fiances and girlfriends, or taking group selfies with Gaza’s rubble as the backdrop. (One such photo went viral after the writer Benjamin Kunkel added the caption “The Zone of Pinterest”.) There are so many such echoes that, today, Glazer’s masterpiece feels more like a documentary than a metaphor. It’s almost as if, by filming Zone in the style of a reality show, with hidden cameras throughout the house and garden (Glazer has referred to it as “Big Brother in the Nazi House”), the movie anticipated the first live-streamed genocide, the version filmed by its perpetrators. Zone offers an extreme portrait of a family whose placid and pretty life flows directly from the machinery devouring human life next door. This is most emphatically not a portrait of people in denial: they know what is happening on the other side of the wall, and even the kids play with scavenged human teeth. The concentration camp and the family home are not separate entities; they are conjoined. The wall of the family’s garden – creating an enclosed space for the children to play, and shade for the pool – is the same wall that, on the other side, encloses the camp. Everyone I know who has seen the film can think of little but Gaza. To say this is not to claim a one-to-one equation or comparison with Auschwitz. No two genocides are identical: Gaza is not a factory deliberately designed for mass murder, nor are we close to the scale of the Nazi death toll. But the whole reason the postwar edifice of international humanitarian law was erected was so that we would have the tools to collectively identify patterns before history repeats at scale. And some of the patterns – the wall, the ghetto, the mass killing, the repeatedly stated eliminationist intent, the mass starvation, the pillaging, the joyful dehumanization, and the deliberate humiliation – are repeating. So, too, are the ways that genocide becomes ambient, the way those of us a little further away from the walls can block the images, and tune out the cries, and just … carry on. That’s why the Academy made Glazer’s point for him when it hard-cut to Barbenheimer – itself a trivialization of mass slaughter – without missing a beat. Atrocity is once again becoming ambient. (One might see the entire Oscar spectacle as a kind of live-action extension of The Zone of Interest, a sort of Denialism on Ice.) What do we do to interrupt the momentum of trivialization and normalization? That is the question so many of us are struggling with right now. My students ask me. I ask my friends and comrades. So many are offering their responses with relentless protests, civil disobedience, “uncommitted” votes, event interruptions, aid convoys to Gaza, fundraising for refugees, works of radical art. But it’s not enough. And as genocide fades further into the background of our culture, some people grow too desperate for any of these efforts. Watching the Oscars on Sunday, where Glazer was alone among the parade of wealthy and powerful speakers across the podium to so much as mention Gaza, I remembered that exactly two weeks had passed since Aaron Bushnell, a 25-year-old member of the US air force, self-immolated outside the Israeli embassy in Washington. I don’t want anyone else to deploy that horrifying protest tactic; there has already been far too much death. But we should spend some time sitting with the statement that Bushnell left, words I have come to view as a haunting, contemporary coda to Glazer’s film: “Many of us like to ask ourselves, ‘What would I do if I was alive during slavery? Or the Jim Crow south? Or apartheid? What would I do if my country was committing genocide?’ The answer is, you’re doing it. Right now.” Naomi Klein is a Guardian US columnist and contributing writer. She is the professor of climate justice and co-director of the Centre for Climate Justice at the University of British Columbia. Her latest book, Doppelganger: A Trip into the Mirror World, was published in September" |
Responses:
[53365] [53336] [53338] [53354] [53346] [53349] [53347] [53351] [53353] [53340] [53342] [53345] [53350]
53365
From: akira, [DNS_Address]
Subject: Jonathan Glazer... ‘He should have stayed silent’
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Conversation Jeffrey St. Clair, CounterPunch reposted jabari McDonald: "Son of Saul director came to Columbia and spoke with us about making that film and all the naked people being dragged around are real life homeless people who got paid “less than pennies” to be in the film. He made sure no one was recording before he said it." The Guardian: Mar 15 "Jonathan Glazer’s Oscars speech condemned by Son of Saul director: ‘He should have stayed silent’ In a statement shared with the Guardian, László Nemes says The Zone of Interest director’s speech ‘resorted to talking points disseminated by propaganda meant to eradicate all Jewish presence’ László Nemes, the director of acclaimed film Son of Saul, has criticised The Zone of Interest director Jonathan Glazer’s Oscars acceptance speech. Speaking at the ceremony on Sunday, Glazer said he and his producer, James Wilson, “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October 7 in Israel or the ongoing attack on Gaza.” Glazer’s words have met with both applause and opprobrium, including from the Anti-Defamation League (ADL), who on Monday called them “morally reprehensible”. Jonathan Glazer calls for end to 'dehumanising' of victims in Gaza and Israel – video 0:59 Jonathan Glazer calls for end to 'dehumanising' of victims in Gaza and Israel – video The ADL posted on social media: “Israel is not hijacking Judaism or the Holocaust by defending itself against genocidal terrorists. Glazer’s comments at the #Oscars are both factually incorrect & morally reprehensible. They minimise the Shoah & excuse terrorism of the most heinous kind.” This sentiment was echoed by Nemes, who – like Glazer – won the foreign language Oscar for a film about the Holocaust; in Nemes’ case his 2015 movie Son of Saul, about a Jewish prisoner forced to work in the gas chambers at Auschwitz. (left to right) James Wilson, Leonard Blavatnik and Jonathan Glazer collect the Oscar for best international film for The Zone of Interest. US Holocaust survivors’ foundation calls Jonathan Glazer’s Oscars speech ‘morally indefensible’ Read more “The Zone of Interest is an important movie,” Nemes writes. “It is not made in a usual way. It questions the grammar of cinema. Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilisation, before or after the Holocaust. Nemes at the Oscars in 2016. View image in fullscreen Nemes at the Oscars in 2016. Photograph: Steve Granitz/WireImage “Had he embraced the responsibility that comes with a film like that, he would not have resorted to talking points disseminated by propaganda meant to eradicate, at the end, all Jewish presence from the Earth.” Nemes continued by saying Glazer’s speech would stoke antisemitic feeling. “It is especially troubling in an age where we are reaching pre-Holocaust levels of anti-Jewish hatred – this time, in a trendy, ‘progressive’ way,” he wrote. “Today, the only form of discrimination not only tolerated but also encouraged is antisemitism.” The Guardian has contacted Glazer for comment. Son of Saul and The Zone of Interest both premiered at Cannes, eight years apart. They both won the the grand prix (the runner-up’s prize) at the festival, and both are set at Auschwitz in 1944. The former focuses on a Sonderkommando prisoner Saul, seemingly numbed as he goes about his work. As word of an uprising spreads, Saul becomes driven by a mission to perform a proper Jewish burial for a young boy who was not incinerated. The film tracks Saul’s experience throughout, with its star centre-screen for much of the movie, the horrors around him slightly blurred in the periphery of the frame. The Zone of Interest takes place largely just outside Auschwitz’s walls, in the domestic paradise created by SS commandant Rudolph Höss, along with his wife, Hedwig. The prisoners are unrepresented in the film, other than through the soundtrack which captures their cries and screams and industrial grindings of the death camp next door. FRANCE-HUNGARY-CINEMA-NEMES Hungarian screen writer and film director Laszlo Nemes poses during a portrait session in Paris, on March 12, 2019. (Photo by Martin BUREAU / AFP) (Photo by MARTIN BUREAU/AFP via Getty Images) László Nemes: ‘I didn’t want Son of Saul to tell the story of survival’ Read more Nemes relates this artistic choice to focus on the perpetrators rather than the victims to Glazer’s speech. “[M]aybe it all makes sense, ironically,” he says, “there is absolutely no Jewish presence on screen in The Zone of Interest. Let us all be shocked by the Holocaust, safely in the past, and not see how the world might eventually, one day, finish Hitler’s job - in the name of progress and endless good.” Glazer and Wilson had been “circling around” the idea of doing a Holocaust film for some years before they optioned Martin Amis’s novel – a heavily fictionalised account of the Hösses’ lives – in 2014. Sandra Huller in The Zone of Interest. View image in fullscreen Sandra Hüller in The Zone of Interest. Photograph: Courtesy of A24 “When Jon and I started, back in 2014, to talk about this, about making a film on this subject,” Wilson told the Hollywood Reporter, “we of course knew Schindler’s List and Son of Saul and everything in between. And our conversations were all about, ‘What new is there to say about the Holocaust?’ Except that it was evil, which everyone knows and which felt like a straw target.” Glazer added: “But because the subject is so vast and because of the sensitivities involved, I felt I first needed to educate myself in a deeper way. So I spent a couple of years just reading books on the subject, watching documentaries, reading eye-witness testimony. Trying to understand the impulses that drew me to the subject to begin with, before I even tried to put pen to paper.” Jonathan Glazer, film director Jonathan Glazer on his holocaust film The Zone of Interest: ‘This is not about the past, it’s about now’ Read more It was during this research he came across an excerpt from Martin Amis’s novel The Zone of Interest, which was about to be published. “I didn’t know whether I wanted to adapt the book, but I knew there was something in the book for me,” he said. Nemes, who was born in Budapest and has lived in Paris, London and New York but remains based in Hungary, suggested Glazer’s words at the Oscars were symptomatic of a world view or “maybe even a collective psychosis” common to “totalitarian political regimes and repressive religious fanaticism”. He likened such a standpoint to that of “12th-century archbishops, in an ecstatic state of self-righteousness, self-flagellation, denouncing vice, longing for purity.” Jonathan Glazer and James Wilson at the Oscars. View image in fullscreen Jonathan Glazer (right) and James Wilson at the Oscars. Photograph: Carlos Barría/Reuters Nemes suggested Glazer was part of “the overclass of Hollywood” who “preach to the world about morality” rather than concerning themselves with crises in their own industry. Rather than concentrating on their jobs, Nemes continues, “the disconnected, hypocritical and spoiled members of the cinema elite are busy - for some reason - trying to moralise us.” On Friday, Danny Cohen, the film’s executive producer, said he ‘just fundamentally disagree[d]” with Glazer’s comments. “It’s really important to recognise [these comments have] upset a lot of people and a lot of people feel upset and angry about it” said Cohen on the Unholy podcast. “And I understand that anger frankly.” "Sunset" UK Premiere - 62nd BFI London Film Festival LONDON, ENGLAND - OCTOBER 15: Director Laszlo Nemes attends the UK Premiere of "Sunset" at the 62nd BFI London Film Festival on October 15, 2018 in London, England. (Photo by Tim P. Whitby/Getty Images for BFI) Son of Saul's László Nemes: 'Our civilisation is preparing for its own destruction' Read more Cohen said: “I just fundamentally disagree with Jonathan on this. My support for Israel is unwavering. The war and the continuation of the war is the responsibility of Hamas, a genocidal terrorist organisation which continues to hold and abuse the hostages, which doesn’t use its tunnels to protect the innocent civilians of Gaza but uses it to hide themselves and allow Palestinians to die. I think the war is tragic and awful and the loss of civilian life is awful, but I blame Hamas for that.” James Wilson, Len Blavatnik and Jonathan Glazer at the Oscars. View image in fullscreen James Wilson, Len Blavatnik and Jonathan Glazer at the Oscars. Photograph: Caroline Brehman/EPA The producer said that he believed the speech was a collaboration between Glazer and Wilson. In previous podium appearances, Wilson has made political statements, while Glazer has tended to restrict himself to thanking his crew and backers. Financier Len Blavatnik – who was also on stage with the pair – was likely unaware of what the director would say. Blavatnik is yet to publicly comment on the speech. László Nemes’s statement in full It is strange when the overclass of Hollywood preaches to the world about morality, instead of worrying about the sorry state of cinema, the crashing level of craft and artistry in films, the destruction of creative and artistic freedom by corporate mindset or the conquest of pyramid-scheme streaming services producing junk cinema. When they should aspire, in a world more and more fragmented and drawn to its own destruction, to create meaningful movies, the disconnected, hypocritical and spoiled members of the cinema elite are busy – for some reason – trying to moralise us. Geza Rohrig in Son of Saul. View image in fullscreen Géza Röhrig in Son of Saul. Photograph: Sony Pictures Classics/Allstar And this is reflected in their productions, uninspired and academic, cowardly and never challenging. They all act in unison according to a worldview that reminds me of 12th-century archbishops, in an ecstatic state of self- righteousness, self-flagellation, denouncing vice, longing for purity. Only totalitarian political regimes and repressive religious fanaticism are defined by this kind of state of mind or maybe even collective psychosis. The Zone of Interest is an important movie. It is not made in a usual way. It questions the grammar of cinema. Its director should have stayed silent instead of revealing he has no understanding of history and the forces undoing civilisation, before or after the Holocaust. Had he embraced the responsibility that comes with a film like that, he would not have resorted to talking points disseminated by propaganda meant to eradicate, at the end, all Jewish presence from the Earth. Geza Rohrig star of Son of Saul at Cannes Son of Saul star: ‘God was holding the hand of every Jew in the gas chamber’ Read more It is especially troubling in an age where we are reaching pre-Holocaust levels of anti-Jewish hatred – this time, in a trendy, “progressive” way. Today, the only form of discrimination not only tolerated but also encouraged is antisemitism. But maybe it all makes sense, ironically – there is absolutely no Jewish presence on screen in The Zone of Interest. Let us all be shocked by the Holocaust, safely in the past, and not see how the world might eventually, one day, finish Hitler’s job – in the name of progress and endless good."" |
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53336
From: akira, [DNS_Address]
Subject: And some of the patterns – the wall, the ghetto, the mass killing, ...
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"And some of the patterns – the wall, the ghetto, the mass killing, the repeatedly stated eliminationist intent, the mass starvation, the pillaging, the joyful dehumanization, and the deliberate humiliation – are repeating. "So, too, are the ways that genocide becomes ambient, the way those of us a little further away from the walls can block the images, and tune out the cries, and just … carry on." — NaomiAKlein on Jonathan Glazer's Oscar speech and Gaza And most of the people who post on this board seem to be either silent or just fine with it. What does that tell you? |
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[53338] [53354] [53346] [53349] [53347] [53351] [53353] [53340] [53342] [53345] [53350]
53338
From: ryan, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
| that you're being emotionally reactive again? your trolling and finger pointing is getting really tedious...but to answer your naive question,it tells me a lot of people realize there is very little they can do about, other than to try your approach, which is to run around like a chicken with its head cut off... |
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53354
From: old timer, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
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“but to answer your naive question,it tells me a lot of people realize there is very little they can do about, other than to try your approach, which is to run around like a chicken with its head cut off...” that ain’t right. israel cannot continue without us dollars and us weapons. raising our voices against what is being done to let our politicians know we shouldn’t continue to support the slaughter that is happening is within our power and it is stupid to keep claiming we can’t do anything |
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53346
From: akira, [DNS_Address]
Subject: compartmentalize much?
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It's strange how you never accused me being 'emotionally reactive' during the 5 years I constantly posted about the evils of Donald Trump, nor do you accuse anyone on the national board currently who is running around like a chicken with its head cut off over Trump (the majority of posters). Or Putin, before y'all got tired of talking about that war. Just me talking about genocide. I'm the 'emotionally reactive' one. And since I can't solve the problem, I'm tedious. Listen to yourself. |
53349
From: shadow, [DNS_Address]
Subject: Re: compartmentalize much?
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Listen to *your*self, akira...jayzus criminy... How many thousands of words have you launched in the vain endeavor to change Mr. Bopp/Ryan into who you prefer he would be, into moderating his forum as you would prefer he would, think as you would prefer, act as you would prefer and, by golly, *show his work* if he wants an acceptable grade...? ...lol... Again here's the image...of me or any liberal trying to pull similar idiocies with the owner of any forum who has *made it clear* he has the final word on editing -- for his own reasons, and at the peril of anyone who, for whatever reason, simply cannot fathom, nor accept, why he doesn't think/act/reason the way others do........... This is what you are doing. And yes -- it's quite tedious indeed... |
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53347
From: akira, [DNS_Address]
Subject: Re: compartmentalize much?
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and if you don't appreciate my posts or are emotionally charged by them, please feel free to delete them or ban me. I'll understand. |
53351
From: old timer, [DNS_Address]
Subject: Re: compartmentalize much?
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he won’t ban you, he’ll just mess with you and attack you until he has to make another post telling everyone he didn’t ban you. and it is strange how he likes to remain aloof and above some issues criticizing those who speak up while whining constantly about others |
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53353
From: ryan, [DNS_Address]
Subject: Re: compartmentalize much?
| isn't that strange...lol... |
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53340
From: mitra, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
URL: https://wck.org/
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That's the way I felt... running around like a chicken,, but Jose is getting through to Gaza, and I'm getting through to Jose. |
53342
From: ryan, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
| that is much better than the chicken dance...good on you and jose... |
53345
From: mitra, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
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Jose is truly a Hero of a true Revolution. |
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53350
From: ryan, [DNS_Address]
Subject: Re: And some of the patterns – the wall, the ghetto, the mass...
URL: https://thehill.com/policy/international/4536506-ship-food-aid-arrives-gaza/
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First ship carrying food aid arrives in Gaza, ‘preparations underway’ to dispatch second by Lauren Irwin - 03/16/24 1:02 PM ET The second vessel, left, with food aid from aid group World Central Kitchen prepares to depart for Gaza, at Larnaca port, Cyprus, Saturday, March 16, 2024. (AP Photo/Petros Karadjias) The first ship carrying 200 tons of food gathered by World Central Kitchen (WCK) arrived in Gaza Friday and, the organization announced, more will be coming soon. WCK, the charity founded by celebrity chef José Andrés, released a statement that its team unloaded the aid in Gaza. The food was carried on a ship by the Spanish aid group Open Arms and is part of the WCK’s effort “to bring as much aid as possible to Palestinians by sea.” The ship departed from Cyprus on Tuesday and WCK announced preparations are already underway to dispatch a second boat carrying “hundreds more tons of aid, along with heavy machinery to expedite the offloading process.” Andrés posted on X, formerly known as Twitter, shared the news of the ship’s arrival. “We did it! Teams of @WCKitchen and @openarms_fund working hard to offload all 200 tons…12 trucks! This was a test! To learn…we could bring thousands of tons a week…with what we learn we will get better,” he said online. “I want us to build a highway of constantly flowing aid on the sea as just one more access point into Gaza that is so desperately needed,” WCK CEO Erin Gore, who was recently on the ground in Cyprus, said in a statement. The delivery includes rice, flour, legumes, canned vegetables and proteins. It was organized alongside the United Arab Emirates and Cyprus, the release said. The United States and other allies began sending air drops of aid to civilians in Gaza in early March. President Biden announced that the U.S. military would build a temporary port on Gaza’s coast to increase aid deliveries by sea. Still, the floating pier is expected to take up to two months to construct. The WCK voyage from Cyprus to Gaza was about 200 miles across the Mediterranean Sea Since the start of the war on Oct. 7, more than 30,000 Palestinians have been killed, the Hamas-run Gaza Health Ministry reported. According to the United Nations, a quarter of the territory’s population is starving. The aid deliveries come as the U.S. and other countries continue to negotiate with Israel and Hamas about a temporary cease-fire, which has yet to be reached. |
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