Publication date: 2018-04-20 22:33
Hello. My name is David Firth and I make things every day. I am working on everything. If you want to be kept up to date with what I am doing please follow me on TWITTER and swirl in my endless loop. Below is my log of recently completed projects.
They admit, however, they have "never" spoken to an Emirati. Never? "No. They keep themselves to themselves." Yet Dubai has disappointed them. Jules Taylor tells me: "If you have an accident here it's a nightmare. There was a British woman we knew who ran over an Indian guy, and she was locked up for four days! If you have a tiny bit of alcohol on your breath they're all over you. These Indians throw themselves in front of cars, because then their family has to be given blood money – you know, compensation. But the police just blame us. That poor woman."
This story has many variants, religious and secular, scientific, economic and mystic. But all tell of humanity’s original transcendence of its animal beginnings, our growing mastery over a ‘nature’ to which we no longer belong, and the glorious future of plenty and prosperity which will follow when this mastery is complete. It is the story of human centrality, of a species destined to be lord of all it surveys, unconfined by the limits that apply to other, lesser creatures.
This response we call Uncivilised art, and we are interested in one branch of it in particular: Uncivilised writing. Uncivilised writing is writing which attempts to stand outside the human bubble and see us as we are: highly evolved apes with an array of talents and abilities which we are unleashing without sufficient thought, control, compassion or intelligence. Apes who have constructed a sophisticated myth of their own importance with which to sustain their civilising project. Apes whose project has been to tame, to control, to subdue or to destroy — to civilise the forests, the deserts, the wild lands and the seas, to impose bonds on the minds of their own in order that they might feel nothing when they exploit or destroy their fellow creatures.
In the meantime, I looked deep into my backups, and found an old discarded version of comic #75 from December, 7556. I never finished fully coloring it, but enjoy!
I wanted to understand how the government of Dubai will react, so I decided to look at how it has dealt with an environmental problem that already exists – the pollution of its beaches. One woman – an American, working at one of the big hotels – had written in a lot of online forums arguing that it was bad and getting worse, so I called her to arrange a meeting. "I can't talk to you," she said sternly. Not even if it's off the record? "I can't talk to you." But I don't have to disclose your name. "You're not listening. This phone is bugged. I can't talk to you," she snapped, and hung up.
All the guidebooks call Dubai a "melting pot", but as I trawl across the city, I find that every group here huddles together in its own little ethnic enclave – and becomes a caricature of itself. One night – in the heart of this homesick city, tired of the malls and the camps – I go to Double Decker, a hang-out for British expats. At the entrance there is a red telephone box, and London bus-stop signs. Its wooden interior looks like a cross between a colonial clubhouse in the Raj and an Eighties school disco, with blinking coloured lights and cheese blaring out. As I enter, a girl in a short skirt collapses out of the door onto her back. A guy wearing a pirate hat helps her to her feet, dropping his beer bottle with a paralytic laugh.
So we find ourselves, our ways of telling unbalanced, trapped inside a runaway narrative, headed for the worst kind of encounter with reality. In such a moment, writers, artists, poets and storytellers of all kinds have a critical role to play. Creativity remains the most uncontrollable of human forces: without it, the project of civilisation is inconceivable, yet no part of life remains so untamed and undomesticated. Words and images can change minds, hearts, even the course of history. Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are.
He looks around at the shiny floors and Western tourists and says: "What we see now didn't occur in our wildest dreams. We never thought we could be such a success, a trendsetter, a model for other Arab countries. The people of Dubai are mighty proud of their city, and rightly so. And yet." He shakes his head. "In our hearts, we fear we have built a modern city but we are losing it to all these expats."
"People here are turning into lazy, overweight babies!" he exclaims. "The nanny state has gone too far. We don't do anything for ourselves! Why don't any of us work for the private sector? Why can't a mother and father look after their own child?" And yet, when I try to bring up the system of slavery that built Dubai, he looks angry. "People should give us credit," he insists. "We are the most tolerant people in the world. Dubai is the only truly international city in the world. Everyone who comes here is treated with respect."