Doug Collins

© get this straight «

vt

“THEY FEEL they're living in an alien, terrify-
ing land, but nobody listens.’’--Report in the

London Daily Mail on the fate of whites living in |

districts with large numbers of blacks and

Asians.

The British politicians
responsible for their coun-
try's immigration disaster
may be listening more now
- after the October riots --
but in Canada our politi-

| cians continue to be blind
and deaf. Like the three
monkeys, Mulroney,
Turner and Broadbent hear
no evil, see no evil and
speak no evil. That is why it
| has been announced that an
additional 25,000 im-
migrants will be admitted
next year, most: of whom,
i like the rest, will be from
# countries whose cultures are
totally alien from ours.

“The Mulroney-
. Turner-

| Broadtent
-coalition: ‘can’t

wait to reproduce.

‘over here what
| exists over —
there,””

eee
. You might have thought
‘that a. Tory ‘government
“would inject some sense in-
to the immigration scene.
{But I-didn’t and I told you
iso. So now we have Walter
i McLean, the minister of
' State for immigration, talk-
‘ing and acting like a Liberal
‘and Preparing an even big-
sger-racial stew for us. :
The: . Mutroney-Turner-

oadbent. coalition can’t
wait to ‘reproduce over here

‘what exists over there.

. You must have seen those!
‘lovely TV . pictures _ of:

‘British cities burning while

‘blacks danced in the light of
‘the ‘flames, but you have'to

go ‘to the. tabloid: British
‘press to understand what a

pot of hatred is now boiling

in British breasts.

-“The scene was
| similar to the
“London people’
|-know after a
[ Luftwaffe raid

Se
Readers have been sen-
ding me some samples.
’ After the Tottenham riot
the front page of The Sun
carried a nearly full-page
1 picture of the police con-
stable who was killed by
blacks, plus a smaller shot
of another bobby with
blood streaming down his
face. The caption: ‘The
bloody face of London.”’
A headline spread over
pages two and three read:
“We Saw Him Murdered’’.
| There was also a horrible
photo ofa policeman with
dozens of stitches in his
face, courtesy of a broken

bottle wielded by other
rioters. A shorter story
described how a .38 bullet
had been removed from the
stomach of a third cop.

A ‘‘stunned young
Mum" (white) was shown
pushing her baby-buggy
through a heap of

wreckage. The scene was |

similar to the London peo-
ple knew after a Luftwaffe |
raid, and the text stated
there were ‘‘scores of burnt-
out and littered streets’.

Page Four’s headline was
“Give Blacks 7000 Pounds
To Go Home, Says Tory’’,
meaning that MP Harvey
Procter had joined Enoch
Powell, the British Cassan-
dra, in calling for subsidies
for blacks and Asians to
return to their countries of
origin.: Procter’s further
comment:
African Sharpeville scene is
coming to Britain.”

More goodies-on Page |
Five, where the headline.

read: ‘‘Lazy Yobs Just Live
Off Crime”’ -- a reference to
shiftless, drug-toting blacks
who had no intention of do-

- ing an honest day’s work }

even if they could get one.

“Their view is
that more’ ~
immigration will
create more
Jobs..”’

: On. the same. page, a
police union official ‘was.
blowing . his..top -over -ac-
cusations that - somehow it
was the police’ who: were-
responsible ‘for what had'
happened. He was bitter’
about left-wingers ..“‘who-
provide justification for the!
petrol-bomber, the’ missile’
thrower and...the knife-
wielder’’. .

The killing of the’
policeman was described
this way:

‘He was butchered in a
fury of blood ‘iust as he:
tried to protect a fireman:
from the 150-strong mob.

‘The rioters STABBED
PC Blakelock in the chest,

SLIT his throat, and partly }

CUT OFF a finger. And
they left him in a pool of
blood with a KNIFE
embedded in his neck.”
The newspaper's editorial

called for an end to the {

“*softly-softly”’ approach to
the race problem favored by

“The. South. >

Britain’s pinkoes and do- }

gooders.

No lesson in all this for
Brian Baloney, John
Turner and Ed Broadbent,
of course. Nor for Walter
McLean and the sheep that
bleat on the back. benches.
Their view is that more im-
migration will create more
jobs.

So it will one day -- for
undertakers, firemen and
the police.

Wrong.
ipicture
featured |

The veritable ROBERT
BATEMAN, the celebrated Ar-
tist and author of two Fine Art
Collections of his own, “THE
ART OF ROBERT
BATEMAN" ($50.00) and
“THE WORLD OF ROBERT
BATEMAN” ($50.00) will pay
a visit to our district Bookstore
READERS RETREAT in
LYNN VALLEY CENTRE for
the purpose of greeting our
district Readers. READERS
RETREAT Bookstore is the
junction for this Meeting. For
this, he will take 99/100 part of
the journey, we think he would
expect you to filt the gap of
1/100 part, if you would like to
do so. READERS RETREAT
Bookstore invites you to come
and share the Joy of the World
of Art of ROBERT BATEMAN
with ROBERT BATEMAN. At
the same time, if you would like
to have his Autograph on his
latest book, he would do it with
pleasure.

FOR PAYING DUE
COURTESY TO THE
‘DISTINGUISHED ARTIST

Robert Bateman copys
nature, he copys it as it is. —
Itis anybody's guess that he ar-
ranges the objects according to
his own (magination. But the
part of. skills, and tha techni-
ques of it are not the layman's
lot, but the reveries, which are
anybody's. —- We have known
that whatever the Materia
(Prima)ls, once it passes in the
cauldron of Human Imagina-
tion, like the green grasses in
the belly of a cow, it has to take
a Transformation whatever the
form it may be, milk or dung. A
modern Anthropotogist’s term
for this is the ‘Cultural Transfor-
mation’, (Raw/Decayed axis is
Natural. Raw/Cooked is
Cultural.) After all, it is the age
of highly developed cameras.
Here arises a necessary, but
painful. and deadly serious
question — that someone
should have asked long ago —;
Why do we need.a Realist-
Naturalist . painter like
Bateman? Is the Realism,
because, the strong tendency
of contemporary Art? Gr, aze
we, perhaps, tired of preten-
ding that we well understand

. the so-called ‘abstract’? What
do we understand ‘Abstract’ to
be? fs this Art an esoteric doc-
trine, ot any kind of semiology?.
— in'Universat Truth, it must
be mentioned righit here for qur

awn good, including from Poets |

to Physicists (These are the

first, or the last surveyers ci the

group of six blindmen who want
to know what an elephant looks
like.) That there are no such
things ke ‘Abstract’, or ‘Real’
In this Illusory World. These two
sorcerers possess but one eye,
the Illusion, between them.
Each taking a turn to see the
outside World. Clearly saying
_ 80 called ‘Realism’ is the other
side of the. same face of
‘Abstractionism’, and vice ver-
sa... A tomb for these two is
Nihilism. This,.the tilusion, is
«the ground where Art has
rooted its roots. Therefore the
Art is based on Human pre-
judice, the Cultural prejudice,
neither does universe have
this, nor has Nature. Again, in
Universal Truth, neither there is
‘Beauty’, nor is ‘Ugly’, nor
Good', nor ‘Evil’, etc., ... But for
this mentioned prejudice, no
dreams are possible. — Or,
perhaps, is the question
(already put above) a horn of an
over-done-picture of a frog?
Whatever the case is, some
open-minded people would say
why bother about that if it were
good, it would be accepted.
This open-mindedness is highly
pralsable, only if it were not
leading an Art into an artistic
anarchism, i.e. the no-
distinction between Art and
Craftsmanship, etc. - ...
However, the question has
already been stated, then, so-

AN ERROR by the North
Shore News led to the plac-
ing of the wrong photograph
in Doug Collins’ Sunday

y column. A picture of Jack

Irwin from Pacific Honda
was used instead of a photo
of Noel Stansfeld, a veteran

of the Battle of Britain. The
News apologizes to both Ir-
win and Stansfeld for the er-
ror.

GEL STANSFELD_

(Limited hour, limited quantities.)

READERS RETREAT

Lynn Vaiiey Centre

meone has to respond to it, o7
pluck out the damn horn trom
the unfortunate frog. Who is
there to do so? Unfortunately,
we have not met one yet, so we
know not. We can guess one
thing that either a simpleton, or
a hidden dragon is likely going
to attempt this kind of task.
Where are they then? We have
not met one yet, so we know
not. But since we are a

Bookseller, —- according to.

travellers from many parts of
the World —:a Bookseller ot
the best kind, in this troubied
situation, we feel some kind of
debt toward problemed pro-
blem. We believe that a
Bookseller too, have a right to
ask, a right to answer with his
own voice, if he can. Through
this way, if possible with much
hesitation, we would tke to of-
fer’ a suggestion that a
Bookstore, whether it wants to,
or not, takes a role of a public
mirror of the district Readers’
intelligence and Tendency. In
. fact, there is no better mirror
‘than this. The faces are
reflected on this porid collec-
tively. There Is hardly any atibl
_availablo from this. -

At first glance, it seems to us
that Bateman's. Realism-
Naturalism Is a pure and sis
ple form, But the argument thet
we have hefe {s rather con-
trary. Since Human alcne has
taken the Cultural Transforma-
tion, he himself only and ione-

' ly is separated far from Nature.
“This has formed in him a Com-.

plex, — the'Nature Complex.
With respect. and love of
Nature, he wants to return to
Her, the Nature. We unders-
tand that the highest (and far

beyond) form of this Complex °

is Taoism. (Tao is a name for
the Ultimate Law of Nature.
This again, is the Universal
Law.) At the same time,. he
feels awe and terror with fear
towards the very same (but
negative side of) Nature, he
wants to escape from Him, the
‘One-eyed Giant’, or a ‘Wolf-
man’, or a ‘Dragon’, etc. ...
Zenism is of the form (and no
form ... Zen practice is te aim,
or non-aim the Moksha,
Enlightenment. This Moksha is
achieved by the means of
escape from Samsara, the
Nature.) Bateman is especial-
ly and strongly seized by this
Complex. So are we in certain
degrees. Here right on this very
ground, the Painter has taken
a place, so we love his Works.
Of course, there are certain
degrees of differences bet-
ween each Artist, in fact, this
is not only Bateman’s ground,
but afso every Artist's, in-
cluding the very “‘Abstrac-
tionist'. Rather it is Human
ground, the field of Karma. On
this field, from time im-
memorial, numberless farmers
have been trying very hard and
at their best, but very few are
successful with their harvest.
Any farmer vsho likes to harvest

1199 Lynn Valley Rd.

N. Van.
985-7616

a harvest from this field, has to
sow the choicest seeds of his
own Imagination, — among
them, even if only a single seed
is budding out, this seed is not
ordinary — and with a golden
rake, and with a golden bucket,
and with a silken towel, ha
diligently tills the earth, waters
the plant, and wipes off the dust
on the leaves, and still with
sweat and tears and with good
patience, he has to wait hund-
reds of thousands of hours and
even many generations for just
a single bloom from the trae (of
Imagination). it is a self mor-
tification, and a_ painful
penance. If all those things are
done properly, then, someday,
the very tree opens her bosom,
and shows him her secret ‘of
her inner beauty, which nobody
has seen before. It !s Universal
beauty! (Visita. interiora ter-.
rae; rectificarido Invenies oc-.
cultum lapidem"’.) Bateman is:
one of the vary jew successful

farmers on this field. To agree ..

with this, we do not have to go*
further. It is said, ' ‘Nature fs the
Art of God." (in the same man-
ner, how sbout if we ask
ourselves,) “is nature an Art to
us, too?” — This. requires a
very simple answer, but
somehow, it makes us very.
hesitant with doubtful feelings.
If this is our case, then we ere
ready to open this Painter's
book of his Art collection. We
will, soon, find out the very
answer from there. But the pro-
blem we face here is, we knew
how to enter, but we know not
how ito come out. We were
drawn in the depth of the deep
lake of Beauty, the stream
which flows from the hidden
nature of nature. What we have
found in there is that, yes,
Nature is the Art to us tool In
what course does nature sud-
denly change its coarse, harsh,
raw body into an Art? What
wizard's wizardry is this? Did
we net say that he copys
Nature, and he copys it as
cameras do? In this stage, we
are no longer able to hold the
two hypotheses. What we have
witnessed through those
pages, somehow, in some in-
stance, the Raw nature has
taken a Transformation into a
Cooked Gold — the Art! Yet it
is but Nature itself, Raw. About
this let us mention that nature
as Raw, and the nature in an
Art form as Raw, are two dif-
ferent things. The Nature of this
painter is, in this way,
fermented, Culturized; the
nature itself is matured in his
cauldron. It is a realm of
Poetry. (It must be made clear
that this Poetry has nothing to
do with the Poetry that we have
understood. This is the Womb
in which  Father-seed-
Imagination is wearing bones
and flesh and is born. Since we
have no other words, this,
again, is the ‘realm of Poetry’.)
Only a few adept Alchemists
can accomplish this kind of

task. In this, we would like to
draw your attention to his pain-
tings in ‘The World of Robert
Bateman’, i.e., ‘Wolves’ (ibid.
Pp 112-3), ‘Potar Baar’ (ibid pp.
118-9}, ‘Stretching’ (ibid p. 168),
etc. ... At the moment we took
at them, paintings are prin-
tings, the frozen, solid, un-
changeable sceneries which
have been imprisoned in the
canvas. But after a moment,
when we have found ourselves
bitten by the fang of a cobra
which has hidden under the rug
of the sceneries, it is too late.
't is not the sceneries that are
imprisoned In the canvas, but
are we. The virulent poison is
spreading throughout our
bodies and minds. Now we are
trembling with pain and fever.
There is no other antidote for
this from the fang of hidden
Beauty, but one. We too, like an
apprentice of a Shaman, get
sick from this sudden illness,
and we have to take a journey
into the extraordinary reatm of
hidden Wilderness. In what in-
Stance, the Artist’s breath
touches them, we know not.
But the ‘Wolves’ are no longer
wolves, nor ts the ‘Polar Bear’
a bas. The themes of thesa
mentioned paintings ara (as
they seem to us) from one root,
but two branches are of the
scaneries. The scenery of’
‘Wolves’ is still, dead still, with
no sound, like the buttom of a
deep sea. But the other Is like
the very surface of the sama
sea, moving, endlessly moving,
with howling. sounds. of. the:
winds and snow, the white
bear. In short, what we have
seen through this journey are,
the Wolves‘are none other than’
the animated Hell herself, of
the silent side; the personified
Darkness and Stillness which
emerge out from the depth of
Human unconscious. (A good
dreamer does not mix these
Wolves with the Wolves outside
- in the wilderness which are just
a part of Nature, nelther good,
no. evil.) Through this proces-
gion, now. we krow,. the Raw
Nature has been cooked. Bui.:
the ‘Polar Bear’ takes transfor-
mation a reverse way — the
Envolution. (Eveitition and En-<
volution are like the head and

’ tail of the Mythical Snake that «
"swallows up. its tall with its

mouth; Return, eternal retum,) :
Slowly, it returns. back’ to‘its
original state, the barren,
wasted, cold, snow, harsh
Nature. which:.had been
animated by this Painter as
‘Polar Bear, our Fear of
Nature.

Atisen reveries bayond this |
door are not for the Bookseller.
Yes, Bateman copys Nature,
but his Nature.is not copied!:.
Somewhere in this. semi-
darkroom, a poetry is formed.
From here the hidden beauty is.
bloomed. A fine poet he is! He
uses the Wilderness as his
language (and no language is
purely Raw.)

The last Painting of his book
is ‘Stretching’. We see that at
last, the Soul (is Natura, accor-
ding to Gnostics) has taken a
flight towards open space (the
realm of Spirit)! As a Realist-
Naturalist Painter, it is
Batemen's triumph over
Nature. His quest for ‘Spirit has
begun.

P.S.... D0 we not need to
have a Painter like him?
Somehow, the question stilt re-
mains to be answered. The
answer is now nobcdy‘s, but
yours, or Time's.

More P.S.... Is it raining, or
snowing outside this evening?

A bit of hot Rum by the
fireside, with Bateman's book, ©
this Winter is going to be all
‘ight. The Winter, Winter of our
dis-discontent.
Shantih Shantih Shantih

Sincerely
READERS RETREAT