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Quote by Jane Wilson-Howarth

“People filed off the battered old bus. We started to push. The engine soon spluttered to life and the bus stuttered slowly forward. We were all showered in red dust, but we were laughing and cheering, with the driver horn-honking in celebration. I had even more grit between my teeth, and sand up my nose. Then there was a terrific explosion. A pall of black stuff enveloped us, adding soot to our faces. The bus juddered to a halt – again.”

Quote by Jane Wilson-Howarth

Book:Madagascar Misadventure
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Madagascar Misadventure

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Jane Wilson-Howarth

Jane Wilson-Howarth, born in 1954, is a British author whose works span various literary genres, including novels, poetry, and prose. Her writing style is characterized by deep character development and rich emotional expression. more

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“The toothless or peg-legged buccaneer hoisting a flag of defiance against the world, drinking and feasting to a stupor on stolen loot, fleeing at the first sign of serious opposition, leaving only tall tales and confusion in his wake, is, perhaps, just as much a figure of the Enlightenment as Voltaire or Adam Smith, but he also represents a profoundly proletarian vision of liberation, necessarily violent and ephemeral. Modern factory discipline was born on ships and on plantations. It was only later that budding industrialists adopted those techniques of turning humans into machines into cities like Manchester and Birmingham. One might call pirate legends, then, the most important form of poetic expression produced by that emerging North Atlantic proletariat whose exploitation laid the ground for the industrial revolution.”

AnthropologyPiratesMadagascar
Book:Pirate Enlightenment, or the Real Libertalia
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“We would seem to be in the presence of a genuine historical anomaly: a political entity that presented itself to the outside world as a kingdom, organized around the charismatic figure of a brilliant child of pirates, but which within operated by a decentralized grassroots democracy without any developed system of social rank. How to explain this? Are there any real historical analogies? In fact, the most obvious parallel would be pirate ships themselves. Pirate captains often tried to develop a reputation among outsiders as terrifying, authoritarian desperadoes, but on board their own ships not only were they elected by majority vote and could be removed by the same means at any time, they were also empowered to give commands only during chase or combat, and otherwise had to take part in the assembly like anybody else. There were no ranks on pirate ships, other than the captain and the quartermaster (the latter presided over the assembly). What’s more, we know of explicit attempts to translate this form of organization onto the Malagasy mainland. Finally, as we’ll see, there is a long history of buccaneers or other questionable characters who found themselves a foothold in some Malagasy port town, trying to pass themselves off as kings and princes without doing anything to reorganize actual social relations on the ground in the surrounding communities. Discipline on board sixteenth-century European ships was arbitrary and brutal, so crews often had good reason to rise up; but the law on land was unforgiving. A mutinous crew knew they had signed their own death warrants. To go pirate was to embrace this fate. A mutinous crew would declare war “against the entire world,” and hoist the “Jolly Roger.” The pirate flag, which existed in many variations, is revealing in itself. It was normally taken to be an image of the devil, but often it contained not only a skull or skeleton, but also an hourglass, signifying not a threat (“you are going to die”) so much as a sheer statement of defiance (“we are going to die, it’s only a matter of time”)—which crews making out such a flag on the horizon would likely have found, if anything, even more terrifying. Flying the Jolly Roger was a crew’s way of announcing they accepted they were on their way to hell.”

PiratesMadagascar
Book:Pirate Enlightenment, or the Real Libertalia
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“'I went to one acting coach when I first started who told me that acting is reacting to the stimuli we are presented with. Does that make sense?' John nodded. 'But really, that's life now, isn't it? Because we are not a product of where we came from or what was done to us. We are what we choose to be in every situation that God delivers. And that's why when a thing of beauty enters my life, I rise to the occasion with everything I have. Some people are humbled by beautiful things, John. I'm not. I'm inspired. I go after them with everything I have. Everything.'”

Acting And ReactingBlind FallChristopher Rice
Author:Christopher Rice
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