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Κυριακή 25 Ιουλίου 2010

Paros Pirate Festival 23rd of August

Everyone is aware of the "Pirates of the Caribbean", but how many have even heard of the "Pirates of the Aegean"? Well, all you need to do is get your tickets booked and head to the picturesque island of Paros. It is always advisable to coincide your trip to Paros at the time of the colorful Barbarossa Pirate Festival, which is held every year on the 23rd of August.

This unique festival is a classic case of re-acting of the entire episode of an infamous pirate attack on the island of Paros, which is rather skillfully represented by the enthusiastic locals. There is tons of fun and one can be assured of hilarious and   chilling scenes during this unique Pirate Festival.

Unbelievably, the quaint fishing vessels who play a pivotal role in the Festival, act in the guise of pirate ships and energetic locals, particularly the youths of Paros undertake the roles of pirates, protectors and believe it or not - dancing damsels in anguish. A lot of times the casualty of Greek pirates surprisingly used to be a Greek island itself, which may sound odd, but is very true.

The island of Paros in particularly was witness to wave after wave of pirate attacks. As a ploy to rebuff the pirates, the people of Paros built impregnable “Skiathos” which were nothing but traditional Greek fortresses principally meant to ward off pirate attacks. But even these unconquerable “Skiathos” weren’t able to withstand the fierce attacks of the heavily-armed pirates.

The islands of Greece in general and Paros in particular has a long history of pirate attacks. According to a popular Greek legend, heavily armed pirates once kidnapped a beautiful Pelekas bride on the day of her wedding. This act of cruelty so shocked the bride’s mother that she cursed the pirates and as per legend they all were turned into stones, including her daughter who was taken into captivity, due primarily to some inappropriate use of words that were uttered in the curse.

Παρασκευή 23 Ιουλίου 2010

Pirate Culture, the State, Capitalism and the Revolutionary Atlantic

Nowadays pirates are cool, and I'm not talking about people who download music and movies illegally (that's a whole other can of worms). I'm talking about buccaneers: swashbuckling, rum drinking, peg legged, eye patched
 pirates. Not only can the 'Jolly Roger,' be seen in dorm rooms across the country, but skull and crossbones motifs are popping up in the unlikiest of places such as on bibs for babies or backpacks for little girls (they make skulls cute with bows and rhinestones). Heck, even the Disney Corporation sensed that there was money to be made in this trend, coming out with their Pirates of the Caribbean movies. Added to that, the big growth in Pirate Culture where grown adults dress up and talk like pirates in normal day to day life, means seeing a pirate at the mall is now more likely than seeing a pagan in a purple velvet cape (that's so 90s). What's behind this surge of pirate cool? Just another wacky bandwagon fad that will fade as quickly as it erupted or is it a reflection of something deeper?

Oftentimes when viewed in the present, trends, fads and wacky little movements seem to be just oddball occurrences, related to nothing else. However, from the perspective of time, it's easy to see how many of these trends were reflections or rejections of other trends in mainstream society. As PL Frank notes in his blog, Not For Public Consumption, "fads and trends reflect where our heads are at—at the social level, that is. A society that focuses on being carefree, wholesome, and fun-loving (or in denial) creates a craze for Hula-Hoops and Slinkys. A focus on empowerment, control and good-conquers-evil brought about Teenage [Mutant] Ninja Turtles and Mighty Morphin Power Rangers. In the 1990's we saw the hit board game 'Let's Go To The Mall'...in which children get credit cards and the object is to be the first to charge up the most without having your credit card purchases declined." Trends and fads fill a need that we have as a society, but what need does the burgeoning Pirate Culture and omnipresent pirate imagery of today serve?

Piracy and pirates have existed since ancient times and have been active all over the world, even today the UN is doing battle with missile armed pirates off the coast of Somalia; however, for all intents and purposes, the pirates and pirate culture that I refer to in this article are based around the historical Caribbean pirates of the 17th and 18th centuries and the modern day revivalists who also use this era's Caribbean or sometimes more exotically, South Seas, aesthetic. That means Black Beard and Captain Jack Sparrow, not ancient Phoenicians and modern day Somalis.

Lots of different things come to mind when one thinks of your stereotypical pirates: drunkenness, eye patches, wooden legs, walking the plank, brutality, beards, parrots, violence, whoreing and more drunkenness. For some, that's the appeal, being rowdy, yelling arrrrr and using a veritable treasure trove of colorful dialogue ("avast ye matey", and the like). But perhaps there is also a deeper meaning to the appeal of pirate culture today.

Pirates were free men and women, who lived lives of autonomy and adventure, directing their ships where they wished, staying in idyllic islands for however long they wanted (before resorts marred the beaches) and took what they needed to survive. In today's modern world full of rules and regulations, boundaries, borders and patrols, such a lifestyle speaks powerfully to our own inner human needs for independence and freedom from the powers that oppress us and make us work 9-5 in a gray cubicle so we can pay off the mortgage. With our economic structure crumbling around us, you can stand in the rubble and wonder if it was all worth it: not only are all your savings and material possessions gone, but you wasted your life trying to get this stuff and the only memories you have are of your drab workplace.

During the Golden Age of piracy between 1650 to 1725, rules that regulated the life of ordinary people were much stricter than the ones we suffer under today; however just because your handcuffs are more comfortable does not mean that you are free. Our reigns have been loosened only because the world has become our jail: there is no escape. Back in the 17th and 18th centuries there was a way out of a peasant's life of starvation, brutalization and misery for the benefit of unimaginably wealthy elites and that was the freedom and self fulfillment of piracy. Like the many European settlers who escaped the brutal oppression of their colonial government in the New World and the near slavery of indentured servitude by running away to live with Native Americans, most of the men who became pirates escaped from the unimaginably cruel conditions of the Royal Navy and the merchant marine as well as slavery on sugar plantations in the Caribbean.

Contrary to many of the popular images we have of pirates as brutal, vicious fiends without honor, joining a pirate crew was more like a liberation for the average sailor. Conditions in the Navy and merchant marine were brutal and strict. Regular sailors shared in none of the profits that they made for the ship's wealthy land-based owner while taking all the risks for miserable pay and even worse treatment. The power structure on these ships was strictly hierarchical and regular sailors had no input whatsoever in any decisions that their captain made. Discipline was harsh and intolerance for difference, whether religion, skin color, gender or sexual orientation, abounded. As Dr. Johnson famously observed: "no man will be a sailor who has contrivance enough to get himself into a jail; for being in a ship is being in jail with the chance of being drowned... A man in jail has more room, better food, and commonly better company." It is no wonder then, that many pirate crews were easily recruited and joined their 'attackers' as soon as their officers were no longer in a position of power over them.

Pirate ships were veritable utopias on the sea. Democratically and horizontally organized, each crewman had a say in what he or she would be participating in and all shared in the risks and gains. Each crew operated under a written pact that was agreed on and signed by all crewmen. These pacts commonly made provisions for crewmen who were injured in raids in the form of compensation. Pirate crews were also highly diverse and included people of various skin colors as well as women. There was no glass ceiling, anyone could be captain if they proved themselves worthy. These people were proletarian rebels, dropouts from an unjust and unequal society. They took Gandhi's advice before he ever spoke it: "be the change you want to see in the world," and acted in an autonomous and egalitarian fashion, despite the dangers and constant persecution. They set up "pirate utopias" on uninhabited and remote islands which were like free autonomous zones organized with an anarchist political structure.

Contrary to popular notions, pirates were not just rough, brutal men interested only in rum and women. The Caribbean islands at the time were a teeming mass of outcasts, political deportees and so called religious extremists - literally anyone who dared to challenge the state, the monarchy and capitalist exploitation. There were deported Irishmen, Scottish Royalists, religious dissenters, exiled conspirators of various uprisings and plots against the King as well as the defeated proto-anarchist revolutionaries of the English Civil War of the 1640s, the Diggers, Levellers, Ranters, Muggletonians, Fifth Monarchy Men and many others who fled persecution and joined revolutionary pirate crews. This revolutionary consciousness can be seen in the words of one pirate Captain Bellamy who spoke these words to the captain of a merchant vessel his crew had just seized and who had refused to join them: "They villify us, the Scoundrels do, when there is only this Difference, they rob the Poor under the Cover of Law, forsooth, and we plunder the Rich under the Protection of our own Courage; had you not better make One of us, than sneak after the Arses of those Villains for Employment?"

These pirates were so successful that their very existence threatened the mighty and fast-growing empires of Europe that were scrambling over each other to gain wealth and territory in the New World. Not only did they present an alternative lifestyle based on equality, freedom and solidarity (something that had to be crushed in order for the wealthy to continue exploiting everyone else so that they could become even more wealthy), but their brazen and often very successful attacks on shipping in the lucrative waters of the Caribbean deprived these growing empires of both manpower and material goods. Clearly, something had to be done.

It is ironic that the early stages of piracy were both encouraged and often state-sanctioned as in times of war between rivals England and Spain. Queen Elizabeth found it convenient to allow sea adventurers such as Sir Francis Drake to attack Spanish ships while telling Spain that it was out of her hands since the man was clearly a pirate. This set up however, was not the free, autonomous piracy and so the crewmen on these privateer ships suffered the same depravation and exploitation as the men in the navy.

Once piracy had exhausted its "legitimate" uses for the state, a campaign to eradicate piracy once and for all was put into place that can be credited with many of our current ideas about the viciousness and brutality of pirates. It was a vast propaganda campaign meant to destroy any opposition to the power of the exploitative state and the cannibalistic capitalist system of reproduction. They were slandered as riotous, blood thirsty, sodomists, and vicious men while the penalty for piracy was death. The famous Captain Kidd was hanged and then his body, covered in tar to preserve it, was placed in a gibbet, a sort of iron cage and hung at Tilbury Point as a reminder to all seamen of the risks of escaping from wage slavery. And thus, piracy declined due to the steady retaliation of the major European powers that were tightening their political and economic grip on parts of the world that had previously been on the very fringes of civilization.

Pirate Culture of today that emulates these free revolutionaries might be seen as an outcome and, ultimately, a rejection, of the devastation that the last 500 years of imperialism and capitalist exploitation has wrought not just on our environment or in the so called "Third World" but on our very psyches. Why do we no longer have the choice to live free like the pirates of yesteryear? Our American democracy is supposedly about choice but our choices seem to be limited to Coke or Pepsi, Democrat or Republican, green laptop or pink laptop - in reality it is all the same. What I find heartening about this pirate fad is that maybe more and more people are seeing that there is more to life than ceaseless accumulation of material goods and that true freedom means a life outside the structure of the state, which is inherently hierarchical and violent. Only time will tell where pirate culture goes from here and if it will be crushed or co-opted by the powers that be.

Until then, fly the black flag, matey! Arrrrrrrrrrrrrrr!

SOURCES:
http://www.eco-action.org/dod/no8/pirate.html
http://plfrank.blogspot.com/2008/10/american-fads-and-trends.html
Published by Agnieszka Marczak

Πέμπτη 22 Ιουλίου 2010

The Unlikely Role of Patriot Pirates

It began offhandedly in the fall of 1775. Unable to attack British-occupied Boston because of shortages of cannons and gunpowder, George Washington observed the flow of enemy supplies into Boston harbor and wondered if intercepting a British weapons ship might help replenish his meager armory and uplift his army's spirit.
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Offering a percentage of the spoils as inducement to the crews, he dispatched several armed schooners to prowl Massachusetts Bay. In their hunger for loot, the schooners mistakenly snatched a number of patriot vessels before capturing a British transport carrying tons of munitions. Word spread that the seamen had made their fortunes. Yet Washington's joy at the windfall didn't change his low opinion of the colonials involved. Of the lowly shipboard "tars" and the commercial agents who outfitted the schooners, he said, "I do believe there is not on earth a more disorderly set."
The last of Washington's schooners left government service in 1777. In their place were a fledgling Continental Navy and a marauding horde of civilian privateers, essentially legalized pirates who were permitted under international law to plunder the enemy's commercial ships.
Though the Continental Navy launched only a handful of warships during the Revolution, more than 2,000 privateers sailed from colonial ports. They seized 600 ships in American waters and hundreds more in the North Atlantic, as well as in the West Indies, then a teeming marketplace for New World commodities and African slaves. In Britain, privateering caused the price of imports and maritime insurance to soar. Newspaper editorials denounced the American "pyrates," and merchants wondered, "Where is the boasted navy of our country?"
In fact, the Royal Navy captured or destroyed hundreds of American privateers in bloody mismatches of firepower and seamanship. But the payday was deemed worth the risk. One success, shrugged the Philadelphia financier Robert Morris, an avid investor, "will pay for two, three, or four losses." The crews themselves were no less bullish. One New Hampshire seaman, just 14 years old, collected a ton of sugar, 40 gallons of rum, and $100 in gold from the proceeds of one captured ship. Although a six-week privateering jaunt turned into two years of combat and harsh imprisonment for a Connecticut teenager, he astonished his family by hopping another privateer two days after staggering home. He ended the war a wealthy man.
These ambitious mariners ultimately wore down an enemy whose military superiority was strained by the commitments of building a global empire. Benjamin Franklin, America's first emissary to France and a strong supporter of privateering, had no illusions about defeating the Royal Navy, but he aimed to prolong the sea war in order to weaken British resolve. "We expect to make their merchants sick of a contest in which so much is risked and nothing gained."
Franklin devoted himself to aiding privateersmen jailed in Britain. Their plight had become dire after Parliament voted in 1777 to deny them legal rights typically granted prisoners of war. Presaging the current controversy over the rights of detainees at Guantánamo Bay, Britain allowed rebels captured at sea to be held without trial or any prospect of exchange.
Tables turned. Parliament also legalized Britain's own privateers, and French trade ships inevitably fell prey to them. In 1776, French officials had dismissed British complaints about American privateers with amusement. "Shall we say they are pirates? They do not commit any acts of piracy against us." But by the fall of 1777, the French were the ones lodging complaints about hijacked cargoes.
Privateering's casualty toll is hard to calculate. But male populations in seaports from New Hampshire to Maryland were decimated after the war, and public records cite countless men missing at sea. Certainly, thousands died under the guns of British warships, and most of the 12,000 Americans who perished on the infamous prison ships anchored off New York were civilian mariners, their bodies thrown overboard or shoveled under the sandy banks of what is now the Brooklyn Navy Yard.
None of this detracts from the courage and sacrifice of the Continental Navy. But even the navy's most ardent commander, John Paul Jones, conceded that naval service couldn't compete with privateering's loose discipline, better pay, shorter cruises, and explicit permission to avoid tangling with enemy warships.

Indeed, the privateering industry tapped the same vein of self-interest and comradeship that had led the Colonies to seek independence in the first place. It bolstered the battered wartime economy by supporting shipbuilders as well as legal officials who settled captured prizes. It sparked wild financial speculation and created fortunes that survive to this day.
Some of the investors had already been rich and simply added privateering to their wartime portfolios. But most were lower-class hustlers who bet all on a dicey enterprise and emerged as the new nation's economic elite.
Some waterfront magnates entered the highly profitable slave trade. Many transports sent from New England to Africa to collect slaves for delivery to the American South were former privateer warships or converted prizes. Three fifths of them hailed from Rhode Island, a booming privateer center from the earliest days of the rebellion.
The key factor behind privateering's growth from a New England fad to a trans-Atlantic phenomenon, from small-time to big business, was that its lowliest seamen and richest investors pursued it for the same reason—to make money and whip the British, too. In that regard, it opens a window on Revolutionary society that is instantly recognizable to our modern sensibility, for the enterprise blended capitalism and patriotism, selfishness and public service. It was a difficult balance, whose shifts and moral accommodations constitute a basic theme of American life both in 1776 and today. 

By Robert H. Patton

Τετάρτη 21 Ιουλίου 2010

Τσινγκ ΣΙ Κουρσάρος γένους θηλυκού

Η γυναίκα πειρατής κυβέρνησε έξι τεράστιες ναυτικές μοίρες των πεντακοσίων πλοίων με είκοσι πέντε κανόνια σε κάθε πλευρά. Η Τσινγκ Σι (1775-1844)
βγήκε στη θάλασσα και ρίχτηκε στην πειρατεία
όταν ο σύζυγός της, ο αρχηγός των κουρσάρων, πέθανε. Ανέλαβε την αρχηγία στο τσούρμο της, ισοπέδωνε και λεηλατούσε χωριά και εξόντωνε όποιον στεκόταν εμπόδιο στο διάβα της.

Η φιγούρα του πειρατή έχει στοιχειώσει τη λογοτεχνία και τον κινηματογράφο. Ο Στίβενσον, ο Μπόρχες, ο Κόνραντ, ο Μέλβιλ, ο Ντεφόε... έχουν γράψει - επινοώντας σχεδόν πάντα- τη νοσταλγική εξιστόρηση κάποιου επεισοδιακού πειρατικού ταξιδιού ανά τα μήκη και τα πλάτη των θαλασσών και των παραλίων του κόσμου. Οσο για τον κινηματογράφο, τις περισσότερες φορές περιορίστηκε στην ενσάρκωση της καρικατούρας του γεμάτη αστοχίες, υπερβολές και γελοίες κοινοτοπίες.

Αλλά η πειρατική εποποιία περιλαμβάνει επίσης μια ωμή και άγρια αγνότητα που αναζητεί απελπισμένα την απόλυτη ελευθερία. Στην πειρατική εποποιία ωθούσε βίαια η νόμιμη και υποβόσκουσα φρίκη των πολιτισμένων, υποτίθεται, κοινωνιών από τις οποίες προέρχονταν οι πρωταγωνιστικές φιγούρες των άθλιων πειρατικών λεηλασιών. Οι πειρατές ποτέ δεν θέλησαν να γράψουν την ιστορία αλλά να ξεφύγουν απ΄ αυτήν. Η βασιλεία τους δεν ήταν του κόσμου τούτου. Οι ειδεχθείς τους πράξεις εκπορεύονταν από το σκοτεινό στοιχείο που όλοι μας συντηρούμε λίγο- πολύ στις ψυχές μας. Από τον ελεύθερο άνθρωπο, τον κυνηγό και διαρκή μετανάστη που κάποτε υπήρξαμε, και του οποίου η φυλετική ανάμνηση εξακολουθεί να βρίσκεται ανεξίτηλα καταγραμμένη στον πιο πρωτόγονο τμήμα του εγκεφάλου μας, διεκδικώντας καθαρό αέρα και ανοικτές επικράτειες, γιουρούσια και αρπαγές δίχως τελειωμό και μια άγρια και περήφανη ανεξαρτησία.

Οι ρίζες των πειρατών
Οι απαρχές της ιστορίας της πειρατείας χάνονται στο σκοτάδι του παρελθόντος. Πρόκειται για μια δραστηριότητα σχεδόν τόσο παλιά όσο και η ανθρωπότητα, αν και η επίσημη ιστοριογραφία την τοποθετεί με βεβαιότητα στον 5ο αιώνα π.Χ. στα περίχωρα της Ακτής των Πειρατών, στον Περσικό Κόλπο. Οι πειρατές δεν έπαψαν να δρουν καθ΄ όλη τη διάρκεια της αρχαιότητας και κάποιες αναλαμπές της δράσης τους κατάφεραν να συνταράξουν τον 20ό αιώνα. Ακόμη και τον 21ο αιώνα. Υπολογίζονται περίπου στις 1.150

οι πειρατικές επιδρομές που έχουν λάβει χώρα μόνο στο διάστημα από το 2000 ως το 2002.

Φυσικά η πειρατεία δεν είναι πια αυτό που ήταν κάποτε. Το να καταλάβεις σήμερα με το τουφέκι στο χέρι ένα εμπορικό πλοίο μήκους 150 μέτρων φορτωμένο με υλικό πληροφορικής το οποίο ξεκινάει από την Ιαπωνία και μπαίνει στο λιμάνι της Σιγκαπούρης με σκοπό να διαπλεύσει τα στενά της Μαλάκα έχοντας ως προορισμό τη Νότια Αφρική δεν έχει την ίδια γοητεία που περιέβαλε κάποτε τους καταραμένους ληστές των θαλασσών όταν, το 1668, υπό τις διαταγές του Χένρι Μόργκαν λεηλατούσαν τον Παναμά παρακινούμενοι από τα πύρινα λόγια του αρχηγού τους: «Παρ΄ όλο που είμαστε λίγοι, η καρδιά μας είναι μεγάλη και όσο λιγότεροι επιζήσουμε τόσο πιο εύκολα θα μοιράσουμε τα λάφυρα και τόσο περισσότερα θα πάρει ο καθένας». Η αίσθησή του, όσον αφορά τη δικαιοσύνη, ήταν- τότε- απλή όσο και καταστρεπτική. Δεν είναι πια έτσι. Λεκιασμένη δημοκρατία
Είναι φυσικό, έχουν αλλάξει οι καιροί. Η φιγούρα του «φιλιμπουστέρο», δηλαδή του πειρατή που δρούσε κυρίως στα παράλια (συνήθως των Αντιλλών), έχει δώσει πλέον τη θέση της σε έναν θλιβερό ληστή της θάλασσας, στερημένο από κάθε ίχνος αυτής της ουτοπικής και αναρχίζουσας ευφορίας που πήγαζε από εκείνες τις σκληρές καρδιές και η οποία έφθασε στο αποκορύφωμά της στη Λιμπερτάλια του αρχιπειρατή Μισόν: Εναν πειρατικό παράδεισο δίπλα στη θάλασσα που περιβάλλει τη Μαδαγασκάρη, γεμάτο πειρατές που ήταν Αγγλοι, Πορτογάλοι, μαύροι, μωαμεθανοί και ο οποίος διαλύθηκε όταν οι αυτόχθονες του τόπου αποφάσισαν να εξοντώσουν όλα τα μέλη της κοινότητας, δίνοντας τέλος στη μικρή αυτή απόπειρα εξισωτικής δημοκρατίας που εμπνεύστηκε ο Μισόν και ο πληρεξούσιος και τοποτηρητής του, ο μοναχός Καρατσόλι. Ο πειρατής Τζον Σίλβερ στο «Νησί του Θησαυρού» δεν είναι παρά ένα όνειρο, όπως άλλωστε και τα μέλη των φαλανστηρίων (οργανωμένων κοινοτήτων 1.620 ατόμων, όπου κυριαρχεί η κοινοκτημοσύνη, κατά το πρότυπο του ουτοπικού σοσιαλιστή Φουριέ· ο όρος προέρχεται από τις λέξεις «φάλαγγα» και «μοναστήρι»), ο ρωσικός μηδενισμός, ο αναρχισμός, ο Σεν Σιμόν, ο Ρουσό, ο Φουριέ, ο ουτοπισμός και ο ελευθεριακός κομμουνισμός. Ολα αυτά τα όνειρα, όμως, εξακολουθούν να πάλλονται με τον δικό τους φοβερό τρόπο στην εικόνα της λεκιασμένης από το αίμα και το θαλασσινό αλάτι μαύρης πειρατικής σημαίας.

Η Μεσόγειος και η Θάλασσα της Κίνας ήταν από τα σημαντικότερα θέατρα στα οποία διαδραματίστηκε η πειρατική οδύσσεια. Ο 16ος αιώνας ξεκίνησε ένδοξα, με μεγάλες εκστρατείες και τους Ολλανδούς και τους Αγγλους, γεμάτους απληστία, να εποφθαλμιούν τις ισπανικές κτήσεις στην Αμερική και στην Ασία. Η ισπανική αυτοκρατορία λειτούργησε σαν κόκκινο πανί στην ιστορία της πειρατείας: Ενέπνευσε αποτρόπαια και ζοφερά όνειρα, απληστία και επιθυμία για εκδίκηση σε πολλά μοχθηρά μυαλά. Και είναι κάτι περισσότερο από προφανές το γεγονός ότι, αν η εν λόγω αυτοκρατορία έπαψε να είναι αυτοκρατορία, αυτό οφείλεται, εν μέρει, στην ανελέητη δράση των πειρατών καθ΄ όλη τη διάρκεια δύο αιώνων· δύο αιώνων που σημαδεύτηκαν από αμέτρητες επιδρομές, λεηλασίες, αρπαγές και ληστείες.

Βασιλικές ευλογίες
Ενας από αυτούς που ευθύνονται περισσότερο για την κατάπτωση του ισπανικού Στέμματος ήταν ο Φράνσις Ντρέικ, ο οποίος γεννήθηκε στο Τάβιστοκ του Ντεβονσάιρ το 1539 και βγήκε από πολύ νέος στη θάλασσα. Ταξίδεψε με τον Χόκινς στο νησί της Ισπανιόλας μεταφέροντας μαύρους σκλάβους από την Αφρική, αλλά δέχτηκε επίθεση από τους Ισπανούς και έχασε το φορτίο του και τα καράβια του. Σε αντίποινα προς τους Ισπανούς έγινε κουρσάρος με σκοπό να τους αρπάξει τον θησαυρό τον οποίο, αν πίστευε κανείς τις φήμες που κυκλοφορούσαν, σκόπευαν να μεταφέρουν από τον Παναμά στην Ισπανία μέσω του ισθμού του Ντάριεν. Το να γίνει κανείς κουρσάρος (και, πιο συγκεκριμένα, «buccaneer», όπως είναι ο ακριβής αγγλικός όρος για την πειρατική δραστηριότητα αυτού του είδους) σήμαινε να αποκτήσει μια άδεια για να ληστεύει και να λεηλατεί με τη συγκατάθεση του βασιλιά ή άλλων κυβερνητών και, φυσικά, αποκλειστικά πλοία με εχθρική σημαία. Η βασίλισσα Ελισάβετ Α΄, εντυπωσιασμένη από τον σερ Ντρέικ, είναι ένα αντιπροσωπευτικό παράδειγμα του πώς οι βασιλιάδες κατέληξαν να νομιμοποιήσουν και να θεσμοποιήσουν την πειρατεία, κυρίως όταν αυτή αύξανε την περιουσία τους.

Οι πειρατές αποτελούσαν μια παράξενη κοινότητα η οποία τον 17ο και τον 18ο αιώνα είχε μάλιστα στο νησί Τορτούγα μια διεθνή βάση: Την περίφημη συμμορία των Αδελφών της Ακτής, ένα φυτώριο καταδίκων και παρανόμων της θάλασσας από όλες τις φυλές και όλες τις εθνικότητες, απατεώνων που η καρδιά τους είχε αιχμαλωτιστεί από την ομίχλη του ωκεανού, «κακών παιδιών» που δεν τα ικανοποιούσε ένας τακτοποιημένος κόσμος, ένας κόσμος τον οποίον όριζαν νόμοι που δεν εξυπηρετούσαν πάντα τα ατομικά τους συμφέροντα. Μια αδελφότητα που συγκέντρωσε τύπους τόσο θηριώδεις όσο και θρυλικούς: τον Πιερ Λε Γκραντ, τον αρχιπειρατή Ρόμπερτς, τον Λιούις, τον Αγκραμοντ, τον Λόου...

Αλλά οι αιώνες κύλησαν εις βάρος εκείνων των λουθηρανών αιρετικών, όπως αφελώς τους αποκαλούσαν στην καθολική Ισπανία, την οποία ανησυχούσε όχι μόνο το γεγονός ότι οι άνδρες αυτοί (και οι γυναίκες) λεηλατούσαν τα πλοία της κατά τις τρομερές τους επιδρομές, αλλά κυρίως ότι υπονόμευαν σταθερά και απροκάλυπτα την καθολική πίστη της οποίας υπέρμαχος ήταν ο ισπανικός θρόνος. Στον 19ο αιώνα οι τεχνολογικές πρόοδοι που σημειώθηκαν στις επικοινωνίες και στα συστήματα άμυνας έβαλαν ένα φρένο στη δράση των εγκληματικών αυτών στοιχείων. Οι πειρατές, όντας πολύ αγροίκοι, δεν διακρίθηκαν ποτέ για την καλή τους σχέση με τις επιστημονικές εξελίξεις, με αποτέλεσμα να νικηθούν από τις δυνάμεις του νόμου και της τάξης.

Κάλεσμα ελευθερίας
Τον 19ο αιώνα για την ακρίβεια έδρασε η κινέζα πειρατίνα Τσινγκ Σι ή Τσενγκ ι Σάο (1775-1844), διότι η χίμαιρα της πειρατείας, με το μανιασμένο και ατίθασο πνεύμα που τη χαρακτηρίζει, δεν μπορούσε να αποκλείσει τις γυναίκες. Η Ιρλανδή Γκρέις Ο΄ Μάλεϊ, τον 16ο αιώνα, είχε τη βάση της στο νησί της Κλερ στο Κλιου Μπέι της Ιρλανδίας. Μια άλλη Ιρλανδή (οι Ιρλανδοί είναι θερμόαιμοι και ήταν πάντα έτοιμοι να ριχτούν σε αιματοβαμμένες περιπέτειες στους ωκεανούς), η Αν Μπόνεϊ, κόρη επιφανούς δικηγόρου, ξεκίνησε την καριέρα της τον 17ο αιώνα μαχαιρώνοντας μια κοπέλα και κατέληξε παντρεμένη με έναν πειρατή περιορισμένης εμβελείας, ο οποίος την πήρε μαζί του στις Μπαχάμες ώσπου η νέα τον εγκατέλειψε για άλλον πλουσιότερο τυχοδιώκτη: Τον Καλίκο Τζακ, με τον οποίον απέκτησε ένα παιδί, τη φροντίδα του οποίου ανέθεσε σε κάποιους γνωστούς της στην Κούβα για να μπορεί να δρα ανενόχλητη στη θάλασσα και να επιδεικνύει την ικανότητά της στο μαχαίρι και στο πιστόλι. Ωσπου ερωτεύτηκε τη Μαίρη Ριντ, μια νεαρή Αγγλίδα που είχε μεταμφιεστεί σε πειρατή και έκλεψε την καρδιά της Αν, και πιθανότατα όχι μόνο (ως γνωστόν, οι πειρατές αρπάζουν ό,τι βρουν). Καταδικάστηκαν και οι δύο σε θάνατο αλλά η μία εκ των δύο απαλλάχθηκε από την ποινή της λόγω της εγκυμοσύνης της. Σαρλότ ντε Μπέρι, Φάνι Κάμπελ, Αν Μιλς... Οι γυναίκες ένιωσαν το κάλεσμα της πειρατείας που ήταν, ταυτόχρονα, και κάλεσμα ελευθερίας. Αν ο οποιοσδήποτε αιρετικός, κοινωνικά ξεπεσμένος, στασιαστής σκλάβος ή ταραξίας είχε θέση στην πειρατική αδελφότητα, το ίδιο ίσχυε και για τις γυναίκες. Το άρωμα γυναίκας, η odor di femina, διείσδυσε στα καράβια αλλά πάντα μέσω γυναικών- πολλές εκ των οποίων ήταν χήρες-, οι οποίες συμπεριφέρονταν σαν αυθεντικοί άνδρες ή καλύτερα ξεπερνούσαν τους άνδρες σε ανδρεία, ικανότητα και σκληρότητα.

Ο κύριος της κυρίας
Ο Γιουέντσε Γιουνγκ Λουν διηγήθηκε την ιστορία της κινεζικής πειρατείας από το 1807 ως το 1810 προσπαθώντας να μας αποκρύψει τη θλιβερή και βάρβαρη ιστορία των ασιατικών πειρατικών ωμοτήτων. Στην Κίνα όλα ήταν εκλεπτυσμένα, ακόμη και η φρικαλεότητα. Επιπλέον η κινεζική πειρατεία των αρχών του 19ου αιώνα περιοριζόταν στη μονοκρατορία μιας γυναίκας, της Τσινγκ Σι, που αναμφίβολα της προσέδωσε τη χάρη, τη λεπτότητα και την κομψότητα του αδύναμου φύλου. Αδύναμου; Τρόπος του λέγειν... Κάποια μέρα η κυρία Τσινγκ έγινε σύζυγος του κυρίου Τσινγκ, που από το 1797 διοικούσε την κοινοπραξία των πειρατών. Τα πλοία του σκορπούσαν χωρίς φραγμούς τον τρόμο στα μήκη και στα πλάτη όλων των ποταμών και των θαλασσών ώσπου ο αυτοκράτορας, αγανακτισμένος από την αρπαγή και το μακελειό, όρισε τον Τσινγκ υπεύθυνο των αυτοκρατορικών στάβλων, έναν τίτλο που δεν θα δυσαρεστούσε καθόλου τον σερ Φράνσις Ντρέικ.

Σε αυτό το σημείο η αφήγηση παρουσιάζει την εξής αντίφαση: Σύμφωνα με την πρώτη εκδοχή, ο Τσινγκ περιφρόνησε τις αυτοκρατορικές τιμές και συνέχισε να ξεκοιλιάζει τους κατοίκους του Ανάμ και της Κοτσιντσίνα (σημερινό Βιετνάμ) ώσπου αυτοί οι δύστυχοι, σε μια προσπάθεια άμυνας, τον σκότωσαν εκμεταλλευόμενοι την απροσεξία του σε μια αψιμαχία. Αλλοι, αντιθέτως, διηγούνται ότι ο Τσινγκ φούσκωσε σαν παγόνι όταν έλαβε τον νέο του τίτλο και, φυσικά, από τη στιγμή που του ανατέθηκε αυτό το αξίωμα άρχισε να χάνει την... ενεργητικότητά του, ώσπου οι συνάδελφοί του στην κοινοπραξία, απογοητευμένοι από τις κραυγαλέες ανοησίες και την επιδειξιμανία του αρχηγού τους, του σέρβιραν ένα πιάτο με δηλητηριώδεις κάμπιες γαρνιρισμένο με νόστιμο ρύζι. Οπως και να ΄χει, το θέμα είναι ότι ο Τσινγκ πέθανε και, κατά πάσα πιθανότητα, όχι από φυσικά αίτια.

Η χήρα του όχι μόνο δεν έπεσε απαρηγόρητη σε κατάθλιψη, αλλά ανέλαβε την οικογενειακή επιχείρηση παίρνοντας αμέσως τη θέση του συζύγου της. Και χειρίστηκε τη διοίκηση και τα οικονομικά με ατσαλένια πυγμή. Ο Μπόρχες την περιγράφει ως «μια γυναίκα αδύνατη και στεγνή, με νυσταγμένα μάτια και χαμόγελο που άφηνε να φανούν τα σάπια δόντια της. Τα μαύρα, λαδωμένα μαλλιά ήταν πιο λαμπερά από τα μάτια της». Εγώ πάλι προτιμώ να τη φαντάζομαι κάπως σαν τη γυναίκα που περιγράφει το κινεζικό ποίημα του 14ου αιώνα: «Παγιδευμένη από τον απαλό αέρα, η μεταξένια φούστα της κυματίζει και ανασηκώνεται. Ο λωτός ανθίζει στα στενά της παπούτσια, θα ΄λεγες πως μπορεί να σταθεί πάνω στα νερά του φθινοπώρου. Η μύτη των παπουτσιών της δεν προβάλλει κάτω από τη φούστα από φόβο μήπως και φανούν τα μικρά κεντήματα».

Οι αρχές της χήρας

Δεν ξέρω αν η κυρία Τσινγκ έδενε τα πόδια της στην εποχή της. Εκείνη την εποχή τα δεμένα πόδια ήταν σύμβολο αγνότητας και κρατούσαν τη γυναίκα κλεισμένη στο σπίτι καθιστώντας την ανίκανη να απομακρυνθεί από αυτό. Η κυρία Τσινγκ πήγε όπου ήθελε. Επίσης, όμως, είναι βέβαιο ότι τα κινεζικά ερωτικά εγχειρίδια ήταν αρκετά συγκεκριμένα όσον αφορά τη χρήση των δεμένων ποδιών ως ερωτογενών ζωνών και αποτελούσαν μια αυθεντική σεξουαλική εμμονή.

Με πόδια δεμένα ή όχι, η κυρία Τσινγκ μετατράπηκε στην απόλυτη βασίλισσα έξι τεράστιων μοιρών με 500 πλοία των 15-200 τόνων το καθένα, εξοπλισμένων με 25 κανόνια σε κάθε πλευρά. Καθόλου άσχημα για μια γυναίκα σαν και αυτή. Τα χρώματα της σημαίας ήταν κόκκινο, πράσινο, κίτρινο, βιολετί και μαύρο και η έκτη μοίρα έφερε το έμβλημα ενός φιδιού. Οι διοικητές της είχαν ονόματα εκλεπτυσμένα όπως Πουλί και Πυρόλιθος, Ψηλός Ηλιος, Στολίδι Ολου του Πληρώματος και Χύτρα Γεμάτη Ψάρια. Αν και θα μπορούσαμε να αντιτείνουμε ότι τα ονόματα αυτών των αχρείων ήταν σαχλά μάλλον παρά κομψά, η αλήθεια είναι ότι οι αρχηγοί υπέβαλλαν τους άνδρες τους σε ένα καθεστώς κάθε άλλο παρά εκλεπτυσμένο. Ο κανονισμός της κυρίας Τσινγκ δεν ήταν καθόλου ήπιος και όριζε με απόλυτη σαφήνεια ότι «αν ένας άνδρας βγει στην ξηρά για λογαριασμό του ή αν διαπράξει την επονομαζόμενη πράξη της “παραβίασης των συνόρων” θα του τρυπιούνται τα αφτιά με τρυπάνι ενώπιον όλου του στόλου, ενώ σε περίπτωση επανάληψης του λάθους του θα θανατώνεται». Επίσης είχε απαγορεύσει την «οικειοποίηση του παραμικρότερου αντικειμένου από τα λάφυρα κάθε κλοπής και πλιάτσικου. Τα πάντα θα καταγράφονται και ο πειρατής θα λαμβάνει τα δύο δέκατα της λείας· τα υπόλοιπα οκτώ θα πηγαίνουν στο επονομαζόμενο γενικό ταμείο. Οποιος οικειοποιείται οτιδήποτε από το γενικό ταμείο θα τιμωρείται με θάνατο».

Ασκήσεις διοίκησης
Η χήρα, όπως μερικοί τύραννοι της ελληνικής αρχαιότητας, όταν έπρεπε να αποφασίσει πώς θα τιμωρήσει μια παράβαση, το πρώτο πράγμα που σκεφτόταν- όσο ασήμαντο και αν ήταν το παράπτωμα- ήταν να επιβάλει την ποινή του θανάτου, με αποτέλεσμα να μην μπορεί να σκεφτεί καλύτερη ή πιο παραδειγματική τιμωρία για τα υπέρτατα σφάλματα: «Κανείς δεν θα πρέπει να αποπλανεί για προσωπική του ευχαρίστηση τις αιχμάλωτες γυναίκες από τις πόλεις ή την ύπαιθρο τις οποίες φέρνει στο καράβι. Η χρήση βίας απέναντι σε μια γυναίκα χωρίς την άδεια του υπευθύνου θα τιμωρείται με θάνατο».

Η χήρα Τσινγκ ήταν τόσο διεκπεραιωτική όσο και ο Ναπολέων και με αντίστοιχη αποτελεσματικότητα, όπως μπορεί να συμπεράνει κανείς. Σύντομα απαγόρευσε να γίνεται λόγος για λάφυρα ή λεία- λέξεις με βάρβαρες, σχεδόν δυτικές αποχρώσεις- και αναφερόταν στον καρπό των αρπαγών ως «μετεπιβιβαζόμενα προϊόντα», μια έκφραση που θυμίζει μεταβιομηχανική και παγκοσμιοποιημένη άσκηση ύφους, απόλυτα μοντέρνα.

Το 1808, ενόσω οι άνδρες του μικρού της στρατού περνούσαν την ώρα τους βουτώντας στη λάσπη των βούρλων, παίζοντας χαρτιά, μαγειρεύοντας κάμπιες ή αλείφοντας το σώμα τους με λιωμένο σκόρδο πριν από μια επιδρομή, ένας αυτοκρατορικός στόλος, εντυπωσιακός ακόμη και για την κυρία Τσινγκ, της επιτέθηκε χωρίς έλεος ώσπου τα πτώματα που έπλεαν στη θάλασσα ήταν τόσα που μπορούσες εύκολα να τα μπερδέψεις με τα αφρισμένα κύματα. Αλλά η χήρα με τα τεχνάσματά της, τις προφητείες της, το γκονγκ της και τα τύμπανά της, σε συνδυασμό με τη αγριάδα και τη γοητεία της, κέρδισε τη μάχη. Ο αυτοκρατορικός ναύαρχος Κουό Λανγκ δεν κατάφερε να ξεπεράσει την ήττα και κατέληξε να αυτοκτονήσει ύστερα από μια κάθε άλλο παρά τιμητική λογομαχία με τον πληρεξούσιο της χήρας, τον νεαρό και καλοθρεμμένο Πάο, έναν τύπο ικανό να κλαίει σαν μικρό παιδί και να βγάζει στομφώδεις φιλοσοφικούς λόγους με ποιητικό ύφος όπως ο ακόλουθος: «Είμαστε σαν τους ατμούς που σκορπίζει ο άνεμος, σαν τα κύματα της θάλασσας που αναταράζει ο ανεμοστρόβιλος. Σαν σπασμένα μπαμπού στη θάλασσα, επιπλέουμε και βυθιζόμαστε ξανά και ξανά χωρίς ποτέ να αναπαυόμαστε. Οι επιτυχίες μας στην αιματηρή μάχη θα μας υποχρεώσουν να αντέξουμε το βάρος των ενωμένων δυνάμεων του κυβερνήτη.Αν αρχίσουν να μας καταδιώκουν στα κανάλια και στους κόλπους της θάλασσας,με τους χάρτες που έχουν στην κατοχή τους, δεν θα υποχρεωθούμε να καταβάλουμε μεγάλες προσπάθειες;».

Μια πολύ τρυφερή, καλοπροαίρετη δήλωση, αν και όχι ιδιαίτερα χρήσιμη αφού, μόλις τελειώσουν τα χρήματα, αυτός και η χήρα μαζί με τα υπόλοιπα μέλη του στόλου ρίχνονται και πάλι στη θάλασσα για να σκοτώσουν, να λεηλατήσουν και να βιάσουν νεαρές κοπέλες τις οποίες στη συνέχεια πουλούν ακριβά στο Μακάο.

Με το μαχαίρι στο χέρι
Η επιχείρηση της χήρας εξακολουθεί να ανθεί για έναν ατελείωτο ακόμη χρόνο ως τη στιγμή που ο αυτοκράτορας της στέλνει ως δώρο έναν νέο ναύαρχο, τον Τσουέν Μον Σουν, ο οποίος την υποχρέωσε να αντιμετωπίσει μια διαρκή και επίμονη σταυροφορία που την εξάντλησε και τη νίκησε ταπεινωτικά. Τα χρονικά αναφέρουν ότι οι άνθρωποί της αγωνίστηκαν με γενναιότητα και αφηγούνται το περιστατικό μιας πειρατίνας, η οποία, οπλισμένη με ένα μαχαίρι σε κάθε χέρι, κατάσφαξε κάμποσους στρατιώτες του αυτοκράτορα προτού η ίδια πέσει νεκρή στο αμπάρι.

Παρ΄ όλ΄ αυτά η χήρα Τσινγκ καταφέρνει να επανεξοπλιστεί και συνεχίζει τη δράση της διοικώντας μοίρες κάθε φορά πιο ενισχυμένες, ισοπεδώνοντας χωριά και σπέρνοντας τον τρόμο σε ξηρά και θάλασσα σαν άγγελος θανάτου.

Το Πεκίνο τής στέλνει έναν αρχιπολεμιστή από τους πιο τρομερούς και επίφοβους, τον Τινγκ Κβέι, και η κυρία είναι στα πρόθυρα να πέσει στα γόνατα, ηττημένη από την παρουσία του και μόνο. Ο ναύαρχος εισβάλλει στη θάλασσα με έναν αναρίθμητο στόλο εξοπλισμένο με αστρολόγους και πολεμικές μηχανές.

Ο Μπόρχες αφηγήθηκε το περιστατικό λέγοντας: «Η χήρα θλιβόταν και συλλογιόταν. Οταν το είδε στον ουρανό και στο κοκκινωπό νερό το γιομάτο φεγγάρι, η ιστορία έμοιαζε να φθάνει στο τέλος της. Κανείς δεν μπορούσε να προβλέψει αν ο πέλεκυς που θα έπεφτε πάνω στη σκύλα θα ήταν ο πέλεκυς μιας άνευ όρων συγχώρεσης ή μιας άνευ όρων τιμωρίας, ωστόσο το τέλος πλησίαζε. Η χήρα κατάλαβε. Πέταξε τα δυο της σπαθιά στο ποτάμι, γονάτισε πάνω σε μια σανίδα και διέταξε να την οδηγήσουν ως την αυτοκρατορική ναυαρχίδα. Σουρούπωνε. Ο ουρανός ήταν γεμάτος δράκους, αυτή τη φορά κίτρινους. Η χήρα μουρμούριζε κάποιες λέξεις: “Η σκύλα ψάχνει το φτερό του δράκου” είπε ανεβαίνοντας στο πλοίο». Τέλος σε δύο εκδοχές
Εκτός από τα υπέροχα αφηγηματικά ευρήματα του Μπόρχες, τα χρονικά- όπως πάντα- δίνουν δύο διαφορετικές εκδοχές για το τέλος της χήρας Τσινγκ, όπως συνέβη και στην περίπτωση του συζύγου της. Σύμφωνα με κάποιους, ήλθε σε συμφωνία με την κυβέρνηση και κατέληξε να διοικεί μια επιχείρηση λαθρεμπορίου οπίου. Για άλλη μία φορά δραστήρια επικεφαλής μιας επιχείρησης, και κάθε άλλο παρά μετριοπαθής, ονομάστηκε Λάμψη της Αληθινής Γνώσης και ίσως για πρώτη φορά στη ζωή της ένιωσε ικανοποιημένη.

Σύμφωνα με την άλλη εκδοχή, αποσύρθηκε από τις επιχειρηματικές δραστηριότητες και παντρεύτηκε έναν κυβερνήτη. Αν όντως συνέβη αυτό, δεν ξέρουμε με βεβαιότητα αν χήρεψε ξανά ή αν, αντιθέτως, κάποια μέρα άφησε χήρο εκείνο τον άγιο άνδρα που είχε την τόλμη να την παντρευτεί.

Διαβάστε περισσότερα:
http://www.tovima.gr/default.asp?pid=2&ct=4&artid=285668&dt=29/08/2009#ixzz0uJtAXWCn

Pirates Through the Movie Industry's Eyes

What is it about piracy that makes it so appealing to the movie going audiences? Since the beginning of moving pictures, pirates have managed to find their way into the theaters. However, there has been a dramatic shift in the manner in which piracy is portrayed in film. Back in the 1960's, there were still a few films depicting pirates as ruthless killers and revenge driven predators. As the years went on, pirate movies have become comedies, musicals, and even family movies suitable for children. The blood thirsty pirates of history have been replaced with dancing and singing pirates that don't seem to pose any threat what-so-ever. There hasn't been a classic pirate movie with a crew worth being afraid of since Disney's

Swiss Family Robison back in 1960. Only recently has there a movie that even remotely comes close to the age old portrayal of no-good, evil, greedy, blood thirty pirates. Surprisingly, it is Disney putting out the movie, Pirates of the Caribbean, the same company responsible for The Swiss Family Robison. The rest of the movies over the past thirty years have typically illustrated pirates as goofy and stupid, handsome or gallant, or deserving of pity.

The first basic image of pirates in modern film is that of foolish, inept crews that can't even carry out the most basic of tasks or understand basic concepts. In Steven Spielberg's Hook, the crew is entirely reliant on Captain Hook and Smee for direction. They don't understand jokes with big words, and don't even notice when their own Captain is belittling them to their faces. Captain Hook, almost proudly, calls them "stupid, sorry, parasitic sacks of entrails," and yet they cheer. The entire exchange between Hook and his crew is a perfect portrayal of a pirate crew of mindless, yet violent and greedy, sheep.

Hook isn't the only movie perpetuating this image. Muppet Treasure Island is yet another prime example. What better way to depict pirates as goofy and ridiculous than to make them Muppet characters? Not a single one of the pirates in Muppet Treasure Island can even come close to being taken seriously except Long John Silver, who is actually played by a human actor. Again we see a movie that tries to make the general pirate crew appear entirely inept. They don't listen to orders, and they are driven by greed and therefore commit foolish acts. How can anyone begin to fear a pirate that is played by a talking goat with an earring and eye patch? In addition to having most of the pirates played by Muppets, Muppet Treasure Island takes the foolish pirate stereotype further by giving them a variety of musical numbers to sing. Singing and dancing pirates don't elicit fear, they elicit laughter and smiles.

Muppet Treasure Island and Hook turned piracy into a subject for family movie night.

Of course, pirates didn't start dancing and singing with Muppet Treasure Island. The movie version of Gilbert and Sullivan's The Pirates of Penzance had the entire crew swinging through the rafters singing silly songs and acting more like a circus act than a malicious pirate crew looking to pillage ships. The Pirate King, with his long curly hair and debonair grin, dancing on the decks of his ship is hardly viewed as a threat to the audience.

The second major depiction of piracy is more related to the captain than the crew. The image of a dashing, brave, and handsome pirate captain is becoming more frequent. In 1976, Swashbuckler was released. The Captain, "Red Ned Lynch", is often described in reviews and synopses of the movie as "dashing" and an "alluring rouge." His perfect black hair and beautiful red outfit make him appear as though he should be on the cover of a romance novel, not the star of a pirate film.

This particular trend continues with 1983 film version of The Pirates of Penzance. Here, the Pirate King is played by the young and handsome Kevin Kline, who sports a long curly black wig, tight black pants, and a shirt that always leaves his tanned chest exposed. Even his apprentice, Frederic, has a similar appearance. Again we see a tan young man with long curly hair, tight pants and a pretty face. There isn't a missing tooth, scar, deformity, or eye patch on either one of them. In fact, they both look as though they had a long hot bath that very morning, when historians point out that conditions could actually be quite poor on a pirate ship. The pirates don't even act fierce during the movie. In fact, the crew seems more concerned with getting married to a pretty lady than treasure or pillaging.

Just a few years later, in 1987, The Princess Bride was released in theaters. This furthered the concept of a dashingly handsome pirate captain that always manages to pull off the tight pants and exposed chest. In this movie, the Dread Pirate Roberts is portrayed a young blonde man with perfect hair, a perfect smile, and entirely capable of pulling off the tight pants and exposed chest. The story also reveals that the Dread Pirate Roberts that came before Westley (the main character with the perfect looks) spared him because the concept of needing to stay alive for "true love," and "a girl of surpassing beauty and faithfulness" intrigued him. This is yet another reference to a captain that isn't depicted as blood thirty and disgusting, but one who understands love and beauty.

The third image of pirates being perpetuated by modern film is that Captains are worthy of pity and compassion. The most blatant example of this is seen in

Hook. Throughout the majority film, Captain Hook does come across as cruel, often saying things like: "once you shed blood and dole out cruelty, it's hard to stop. It's a pirate's life, my lad!" However, whatever credibility he had as a cruel and legitimate pirate dissipates by the end of the movie. As the great Hook is on his knees, without his plumed hair and wig, he becomes this pitiful looking character. In the end, Hook is "just a mean old man without a mommy." He even cries out, "I want my mommy" as he finally dies. What legitimately cruel and evil pirate calls out for his mommy in the end? Even Long John Silver from

Muppet Treasure Island isn't thoroughly evil. After all, he spares Jim's life when his crew mutinies, and sings and dances about simply being misunderstood and victim of bad press.

However, there are a few contradictions and exceptions. Some movies have attempted to give pirates some realistic pirate characteristics. Ironically, Muppet Treasure Island seems to have the most hints of reality. The opening song is an example of this:

And they sailed their ship cross the ocean blue

A blood-thirsty captain and a cut-throat crew

It's as dark a tale as was ever told

Of the lust for treasure and the love of gold...

And those buccaneers drowned their sins in rum

The devil himself would have to call them scum

Every man aboard would have killed his mate

For a bag of guineas or a piece of eight...

When the mainsail's set and the anchor's weighed

There's no turning back from any course that's laid

And when greed and villainy sail the sea

You can bet your boots there'll be treachery

"Shiver My Timbers," (the name of the song) gives the audience the impression that they will get a healthy dose of actual buccaneers raping and pillaging the seas for treasure. You'd never know you were about to be introduced to a singing crew of merry Muppets. The historical buccaneers did spend drown themselves in rum, start mutinies, and sail the sea in search of eight, just as the song suggests. In fact, "Shiver My Timbers" even mentions Davy Jones, a character still honored in modern maritime activity. However, the song, while remotely accurate lyrically, is being sung by crabs and alligators, therefore it's hard for the audience to concentrate on the lyrics, much less assign them any credibility. Any and all signs of historically accurate information are drowned out by silliness, hyperbole, and comedy.

The modern film industry has been flooding the pirate movie market with comedies, musicals and unrealistic representations of pirates. The realities of traditional (meaning 1500-1700's) piracy have become so far removed from our memories that anything to do with the subject has taken on an air of fantasy. Pirates have been reduced to the same mythical status as dragon slayers and wizards. The pirates of recent film have been foolish, handsome, or worthy of pity, and that's hardly the image brought forth by historians. In fact, historians like David Cordingly wonder why "few of the [pirate] films follow the historical events with any accuracy."

Of course, Long John Silver of Muppet Treasure Island would have you believe that while "[s]ome say that pirates steal and should be feared and hated. [He says they're] victims of bad press it's all exaggerated." In fact, there's an entire song in the movie dedicated to proving the historians wrong. After all, take Sir Francis Drake, who was adored by the English and hated by the Spanish. Pirates and Buccaneers have bad reputations, because "[i]t's how you look at buccaneers that makes them bad or good."

The movie industry may attempt to go back to a more historically accurate portrayal of pirates, relative to the movies of old.

Disney's Pirates of the Caribbean: Curse of the Black Peal includes seemingly historical references, including elements like the H.M.S. Dauntless, H.M.S. Interceptor, and Port Royal, Jamaica in the movie. Of course, the real Captain Barbarossa of history was a Muslim pirate also known as Red Beard, and he didn't come from Port Royal. Henry Morgan was the famous pirate from that Jamaica city. In addition to throwing out familiar names and locations, this movie seeks to bring back the image of the good-for-nothing ruthless pirate willing to kidnap, steal, fight, and cause all kinds of trouble. The trailer includes the vicious, dirty and sinister Captain Barbarrossa, who kidnaps a beautiful maiden (who is the governor's daughter of course) and seeks to kill anyone who may cross his path. Of course, there are still elements of the pirate movies stereotypes mentioned earlier. One look at the movie's Will Turner, and its easy to see he'll be filling the debonair, suave, and handsome pirate role.

It may take years before the movie industry decides to make a truly accurate pirate film based on real plunderers and real captains. The past thirty years have seen singing and dancing pirates, Muppet pirates, and any number of men with teeth and hair too perfect to ever really be pirates. For now,

Disney's Pirates of the Caribbean may be the closest the industry will get to bringing back pirates we actual fear and loathe.

by Kelly Rowles

Δευτέρα 19 Ιουλίου 2010

Privateer: The History of a Pirate Name

Privateer is another name for a pirate. But a special kind of pirate—one sanctioned by a national government. The name also applies to the kind of ship on which such a pirate operates.

A privateer ship is an armed, privately owned vessel licensed by a state at war to cruise against enemy shipping, sometimes for the purpose of attacking warships but especially for capturing merchant vessels. The same
 term, privateer, denotes a commander or a crew member of such a ship.

Virtually all nations engaged in privateering from ancient times to the 19th century. Typically the sponsoring government did not pay crews directly but allowed them to keep portions of any cargo they seized.

Even though the government commissions usually laid out rules for the privateers to follow, such rules were largely unenforceable once the ships reached the high seas. Therefore, privateers often crossed the line between helping their countries and helping themselves through outright piracy. Famous privateer-pirates included William Kidd (British, c. 1645-1701) and Jean Laffite (French, c. 1780-c. 1825).

In 1856 most European nations signed the Declaration of Paris, which declared privateering illegal. The United States finally repudiated the practice at the end of the 19th century, and Spain, the last European holdout, agreed to the ban in 1908.

The term privateer entered the English language in the 17th century. It was a simple combination of the adjective private and the suffix -eer, and was probably patterned after volunteer (according to the Oxford English Dictionary).

In its specific application to a ship, the word privateer very likely originated as an informal shortening of private man of war, the name previously in use from the mid-1640s to the mid-1660s. (The term man of war meant any vessel equipped for warfare, recorded since the 15th century).

Privateer replaced private man of war in the mid-1660s. Here is an early example: "How three Dutch privateers are taken, in one whereof Everson's son is captaine" (1665, Oxford).

The following example refers to the official status of British privateer ships: "Her Majesty having Impowered the Lord High Admiral of England to grant Letters of Marque, or Commissions for Privateers" (1702, Oxford).

In this example, American privateer vessels are mentioned: "The capture of a Mediterranean packet by an American privateer" (1813, Oxford).

The application of the word privateer to a commander or a crew member also began in the mid-1660s. For example, "The calling of the privateers will be but a remote and hazardous expedient....What compliance can be expected from men...that have no other element but the sea, or trade but privateering" (1664, Oxford).

Here is a later example: "Privateers were little scrupulous as to what kind of victim they pounced upon" (1883, Oxford).

Today the word privateer still has the same two meanings: a government-sanctioned pirate vessel and a sailor on such a ship.
_________________________

The Oxford English Dictionary. 2nd ed. Oxford, England: Clarendon Press, 1989.

by Darryl Lyman

Neverland. As Never Before: A Review of Hook & Jill

I first came across Andrea Jones’ debut novel, Hook & Jill, when I was working at a bookstore. For those of you not blessed to have ever worked retail in a shopping mall during the holiday season, perhaps I can shed some light on the situation. Remember the film Twister? Of course you do. Rag-tag storm-chasers saving the day with science and gumption amid a flurry of flying cows? That’s the one. Now replace all that flying debris, cows and all, with books, and you’ll have a hint of what a typical day at the Bookstore was like for me. So when I say that Hook & Jill called to me from out of the multitude of titles filling the shelves, you can understand a little better why this novel is so remarkable.
In Hook & Jill, Andrea Jones takes us back to Neverland, as she so rightly states, as never before. Think of the novel as a might-have-been, a retelling of Peter Pan by grown-up standards, and as such deserves grown-up attention. The novel received the Mom’s Choice Award for excellence in Adult Literature in Februrary of 2010, a decisive indicator that Hook & Jill is not only imaginative, but also beautifully and skillfully written.
True, Hook & Jill retells J.M. Barrie’s classic Peter Pan, but if you pick up this book expecting a story for kids, think again. This remix brings new life to Neverland, finally addressing the adult issues of adolescent longing, violence, sexuality, and betrayal buried beneath the cheery surface of the land where Pan reigns. This novel is not for the weak of stomach or the weak of heart. Blood flows, sexual heat flares, and everyone from the Indians to the Lost Boys face new challenges that would make J. M. Barrie blush. While Jones endows both Peter and Hook in particular with fathoms of new character depth, it is Wendy who takes center stage in this retelling.
In the spirit of full disclosure, I believe I should include this: in the seventh grade, I played Wendy in my middle school’s production of Peter Pan. Our Pan was portrayed by a boy for whom I harbored the most ridiculously intense crush. It was the kind of sigh-inducing adoration that only thirteen year old girls can maintain. So I approached the role with an understanding of the kind of passionate and hopeless love that Wendy felt for Peter. Jones deftly addresses what happens when Wendy’s sweet infatuation begins to grow and Peter remains the same. It’s painful and harsh and oh-so-real when Jones’ Wendy struggles with growing up in Neverland. Wendy finds herself longing for something that Peter could never provide.
Enter Hook.
The pirate captain’s shadow looms large over Neverland in Jones’ novel, but through delicate characterization, manages to avoid the obvious pirate cliches. Hook is, first and foremost, a gentleman. Even at his most savage, Jones embues him with a sense of timing and elegance. His dialogue with Wendy is the highlight of the novel, the growing tension between them both a mystery and totally familiar to the reader. Hook is Peter’s perfect opposite, demanding nothing less from Wendy, Tinkerbell (in a delightful twist on the character), and his crew than complete loyalty of their own free will. If Peter is thoughtless innocence, than Hook is self-aware independence. And self-awareness never looked so good.
There are any number of things I could say about Hook & Jill. I could reference the Jungian psychology behind the characters. I could mention the lyrical descriptions of the fantasical Neverland. I could laude the overriding message of growth, tolerance, and self-acceptance threaded into every page of the narrative. At the end of the day, however, the best compliment I can give Hook & Jill is this: it kept me up all night reading. And when I had finished, I flipped it over and started again. Hook & Jill is a work of literature to be sure, but it’s also a damn good read, and really, what reader could ask for more than that?
 ”Hook & Jill” by Andrea Jones was awarded as the Mom’s Choice Awards® Gold Recipient for Adult Fiction & Literature, February 3, 2010.
 
Hook & Jill is available online at the author’s homepage (recommended for links to her personal appearances), through Powell’s and Amazon, and at fine bookstores in your area.

Κυριακή 18 Ιουλίου 2010

The Quest for Jean Lafitte

The 'Pirates of the Caribbean' craze has raised the intensity of the search for some of the real life pirates in America's past. Please remember there were some sincerely sinister swashbucklers infesting the Gulf of
 Mexico and the Caribbean Sea from 1620-1848 AD. This time frame comprises several ages, the Golden Age being from approx 1700 - 1776. The most famous American pirate lived after that - Jean Lafitte (1776 - 18??).

'Good Pirates don't drown' is an old sailor's term that might have more meaning now. Just last month, evidence has come to light of a secret graveyard and perhaps a self styled retirement home for evil blood thirsty pirates in Coden, Alabama. A graveyard behind two 1820's homes has been fingered as the last resting place of Jean Lafitte and some key members of his most devoted crew.

BATTLE OF NEW ORLEANS With the first sighting of British masts over the waters of Lake Borgne in mid-December, American General Andrew Jackson hastily convened at his headquarters above Maspero's to review and finalize battle plans. Commodore Patterson and the others were surprised to see Lafitte, whom they considered to be a pirate stroll in among them, dressed in a leather cape with a rapier at his side. What amazed them was the way Andrew Jackson doted on the pirate, soliciting his advice on many subjects, including the layout of the swamp and strategic positions within it. Lafitte was afire, his powers of able command were evident to every American soldier that enjoyed that great victory over the Redcoats.

Jean Lafitte (1776 - 18??) was a famous American buccaneer in the early 19th century. Despised for his piracy in the Gulf of Mexico, and lauded for his heroism in the Battle of New Orleans, Lafitte felt betrayed by a young country that didn't understand the difference. Entrepreneur and astute diplomat, he took an island-full of bloodied seafarers, rovers and fishermen and turned them into an organization of buccaneers, smugglers and merchant marine wholesalers. From European ships plundered in the Caribbean, Lafitte's "crew of a thousand men" kept a constant cargo of necessary provisions on both sides of the Mississippi delta. In early 1821, the U.S. Navy ran Lafitte out of Galveston Texas, and he disappeared - some say he became a petty pirate and lived on Mugeres Island off the coast of Yucatan, but no solid evidence has ever been discovered to support this theory. Mary Hermiston, President of the Mobile Alabama Genealogical Society believes the remains of Lafitte's smuggling network and his connection with James Bowie can still be found in Coden, Alabama.

A local legend asserts that Lafitte told his wife his true identity, but not the location of his treasure. Mary Hermiston has secured permission to search two coastal properties '...there are huge oak trees and descendants of families who settled there say Lafitte buried chests of treasure at the base of them.' She will use high technology to solve this small mystery immediately. But she's also keen to look at the oldest maps of the area and interview property owners and see what they've uncovered over the years. 3D aerial imaging may present the coastline as it appeared in the early 1800's. Geographic imaging systems (GIS) can be harnessed to make digital maps of Coden and show the nearby settlements and shipyards, harbors and hideouts. Once Mary isolates the forgotten foundations using GIS of any contemporary buildings that match the setting of the Lafitte legends, she'll dig privies and nearby crevices to look for clues to Jean Lafitte's lost pirate treasure.

The lost treasure of the gentleman pirate Jean Lafitte? Which one? Here was one pirate who had so much loot he could not bury it all in one spot. It seems he really liked to spread it around. Many are the tales of the loot of Jean Lafitte and many are the places he buried it: (1) $20,000,000 on Caillou Island. (2) The Isle of Pines, where already two cannons have been found with jewels and gold hidden inside. (3) Honey Island. (4) The mouth of the Lavaca River, where the remains of Lafitte's ship, the "Pride," have been found in the river. (5) Kelso's Island. (6) Barataria Bay, where Lafitte had his headquarters for some time. (7) Pecan Island. (8) Grande-Terre, where Lafitte held auctions of his pirated ware. (9) Avoyelles Parish. (10) Last Island, where Lafitte fled during one of his many bouts with the United States Government. (11) Ruston, Louisiana. (12) Galveston Island (now the city of Galveston ). (13) A Louisiana island in Lake Bourne. (14) Cocos Island.

While discussing treasure, probably the most fabulous among the lost buried treasures is the lost silver mine of James Bowie. Most of us remember James Bowie as the man who died beside Davy Crockett at the Alamo, but the seeker of treasure remembers him as one of America's most inveterate treasure hunters.. Like Lafitte, Bowie loved treasure and was consumed with finding it. He was so enamored with the idea of finding a natural silver mine, when he heard that the Indians knew of a vast and secret silver vein, he befriended them, he became a blood brother to them, and he lived with them. All so that he could learn the secret of this natural resource.

Most experts agree James Bowie found his mine, only to take the secret of its whereabouts with him when he died at the Alamo. And his silver mine is still there waiting to be found. Not too many miles from the modern city of San Antonio are the remains of an old Spanish fort near the banks of the San Saba River. It was somewhere near this fort that Bowie found his mine.

But that's not what Mary Hermiston is seeking, According to the President of the Mobile Alabama Genealogical Society Lafitte and James Bowie had a mysterious connection in Coden Alabama, and next summer she's going to dig the mysterious properties and find relics to support her theories detailed in a paper entitled 'The Pirates of Coden Alabama.'

Σάββατο 17 Ιουλίου 2010

Romantic Hero or Bloodthirsty Robber? Unraveling Pirate Myths


For many of us, the life of Long John Silver or Blackbeard is a thrilling tale of defiance, independence, and romance. Who hasn't longed for the life of a pirate, free to go and do as we please without concern for convention or even common sense? But how much of what we have seen and heard is fact, and how much is pure fiction? In this essay, I will attempt to separate the romantic ideas of literature and film from the dark and sometimes unpleasant facts of history and its most famous cut-throats.

The Jolly Roger and Other Pirate Flags

We can all recognize the image of the pirate flag, or "Jolly Roger", waving proudly from the tall mast of a pirate galley. The skull and crossed bones has become the ultimate identifier of pirate affiliations. But what does it really mean?

History reports that the first pirate flags were not black, but red, as red was the universally recognized symbol for danger. A red flag meant that the pirates would show no mercy and would not surrender. Even the name Jolly Roger is believed to be descended from the French term jolie rouge, meaning "lovely red flag". Other sources say that the term comes from the English "Old Roger", another name for the devil. It was not until the pirate Emmanuel Wynne that the Jolly Roger acquired its characteristic look, though some sources credit this to Captain Richard Worley, and other pirates who followed often took this design to the extreme.

The skull and crossed bones was not the only symbol to appear on pirate flags, as later pirates began using the flag as a kind of instant messenger. Skeletons, the hourglass, red hearts, the cutlass, pistols, and even wings sometimes appeared in flag designs, each item having its own meaning based on its incorporation into the overall picture. For example, skeletons and skulls or bones signified death, while a bleeding heart may have meant a painful death. The hourglass usually signified time, as in how much time a ship had to surrender, and the cutlass or pistol implied violence.

Again, the vast majority of these designs appeared on red flags, but some pirates did choose to place their symbols on a black flag, as black was the color of death. A black pirate flag was known as a "Black Jack", like the one used by Edward Teach (Blackbeard), while a red pirate flag was known as a "red jack", like the one used by Christopher Moody. The term "jack" is a nautical way of saying flag. The English "Union Jack" was actually flown as a pirate flag by Captain Henry Morgan. There was also a white flag, which was flown to indicate not surrender, but that the pirates would give chase if the enemy vessel tried to flee. Unlike most cinema depictions, the Jolly Roger was not flown continuously. Pirates were fugitives from the law, and to fly the Jolly Roger was to risk being attacked by a naval warship. Most of the time, the pirate flag was not raised until the other ship was well in range, and it was usually followed by a warning shot to emphasize the point.

The Life of a Pirate

Many movies and popular comics have glamorized the lives of a pirate captain and his crew, endlessly sailing the seas in search of fortune and fame, but the reality of such an undertaking is far less appealing.

During the Golden Age of Piracy, starting around 1700, ideas about sanitation, sickness, and disease were still coming out of the Dark Ages. Medicine was still limited to folk cures, leeches, and the treatments of purging and sweating. Life on board a pirate vessel was often dank, smelly, and dangerous. Bathing was unheard of, and the holds of many pirate vessels were loaded with explosive gunpowder that was sensitive to the slightest spark. Sailing ships were plagued by rats and insects, which often ended up in a pirate's food. Meals consisted mostly of watered-down rum and a kind of stew called salmagundi, which was heavily seasoned to disguise the flavor of spoiled meat. Fresh water was in short supply, and diseases like tuberculosis, lead poisoning, scurvy, and shingles were common. Injuries were common as well, but finding a qualified doctor was difficult and surgery was almost out of the question. If amputation was necessary, a barber, carpenter, or cook might serve as a surgeon, sometimes with tragic results.

Besides disease and injury, there was the constant threat of violence from rival pirate gangs or being captured and hanged by the navy. At worst, a pirate might be marooned by his own crew, left to die on some deserted island for crimes against his shipmates. One such marooned pirate was Ben Gunn, from Robert Louis Stevenson's Treasure Island. Another, and perhaps the inspiration for Stevenson's character, was Philip Ashton. He was marooned for sixteen months after being kidnapped from the vessel of Nicholas Merritt by the infamous pirate, Edward "Ned" Lowe. More than once, Lowe tried to force Ashton to sign his pirate articles, threatening him with violence if he refused. Ashton finally managed to escape while in the Gulf of Honduras after going ashore with the ship's cooper to fetch water. He was later rescued by a landing party from the ship of John Ford, who was anchored in the Bay of Honduras.

Needless to say, the life expectancy of a pirate was rather short, and the rewards seem hardly worth the effort. Any fortunes made were promptly spent at the first available port, and the idea that pirate gangs buried vast amounts of treasure is mostly myth. Certainly some pirates may have hidden away small caches of gold, but the tales of fabulous buried fortunes are almost purely folklore. One has to keep in mind that any spoils resulting from a pirate's activities had to be shared with his shipmates, who could number a hundred or more, and the captain and quartermaster, or "first mate", would require extra shares. By the time the shares had been divided, there would hardly be much left worth burying.

One such treasure was reportedly buried on Oak Island in Nova Scotia by the notorious William Kidd. According to the legend, a fabulous fortune, or perhaps something else, is buried at the bottom of a deep pit which fills with water before the treasure can be reached. Nicknamed "The Money Pit", it has already cost millions of dollars and quite a number of lives, all with no result. Kidd was also believed to have buried a portion of his ill-gotten goods on Gardiners Island, near Long Island, New York, but like the Money Pit, this elusive treasure has yet to be uncovered.

A Captain's Best Friend: The Parrot

A famous fictional pirate, Long John Silver, kept a talking parrot as a pet in Stevenson's classic Treasure Island. While there are almost no written accounts of such a practice, we can safely assume that Stevenson's idea was based in fact.

Historical evidence shows that cats were commonly kept on board sailing vessels as a way of keeping the rat population under control, and many woodcuts from the 18th century show pirates in the company of hunting dogs. Large work animals like horses could also be found, especially if the pirates intended to conduct their affairs on land, and the occasional chicken was not unheard of. A parrot or other exotic animal would certainly fetch a fair price in the royal courts of Europe, and many a self-respecting pirate may have kept his own exotic pet as a kind of status symbol.

Even today, ships' cats are considered lucky by sailors, especially those cats exhibiting polydactly, or extra toes. The author Ernest Hemingway, who was given one of these cats by a ship's captain, is still well known for the six-toed cats that roam his former home in the Florida Keys. Black cats were said to be especially lucky, and to allow harm to come to a ship's cat was thought to invite doom and destruction. Cats were believed to carry fierce storms in their tails, which they could unleash on an unsuspecting ship.

Overall, humans and animals have been co-existing for millions of years, so it is safe to assume that pirates were no different. Animals on board a ship not only served a useful purpose, but might also provide entertainment for the crew or an easy extra income. Dogs not only hunted food and guarded loot, but could be trained to perform tricks for coins while in port or be entered into dog fights for a share of the prize money. Horses not only carried pirates and their booty over land, but could be entered in races or serve as, however unthinkably, emergency rations. New World monkeys could be taught to panhandle crowds in a busy market as well as hunt for food in a dense jungle, and when they had outlived their usefulness, could be sold to rich merchants as charming exotic pets. One has to remember that most pirates were essentially opportunists and scavengers, so any chance to make a quick doubloon was a good one.

Pirate Talk

Ask any child how to identify a pirate, and one of the first things they may tell you is what a pirate says. Children's programs are full of pirate imagery made over into something less menacing because the pirate archetype intrinsically appeals to the imagination, and playgrounds the world over resound with cries of "Argh!" and "Avast, ye scurvy dogs!". But what are they really saying?

Contemporary fiction is mostly to blame for the colorful language of pirates. The idea that a pirate says "argh" was popularized in the 1950 production of Treasure Island, and was meant to mean "aye" or "yes". Another exclamation, "avast", is actually a nautical term used to attract attention, like saying "look". Since scurvy was a fairly common disease, to be called a "scurvy dog" was obviously an insult.

Most pirate talk, however, is simply a collection of common nautical terms still used by sailors today. The front of a ship was called the bow, and the back of a ship was called the stern. Port meant the left side of the ship and starboard meant the right side, especially when facing the bow. The term "rigging" meant the ropes and lines that held the sails, while the sails themselves were called "sheets". A pirate's "mates" were his friends or fellow pirates in good standing, while his enemies were referred to as "swabs" and "lubbers". Every member of a ship's crew had a designated job, and each job had its own unique title. The "powder monkey" was the person in charge of gunpowder and ammunition, while an apprentice sailor or ship's boy was called a "grommet". If a pirate claimed to be "first mate", a position more commonly known as quartermaster, it meant that he was second only to the captain of the ship.

Other pirate terms arose out of contact with cultures outside Europe. For instance, a "dhow" was a kind of sailing ship common in the middle east, while "junks" sailed from China and "Virginians" sailed from the American colonies. Popular pirate prey included the "East Indiaman", a large merchant vessel often bound for India or Turkey, and the occasional fat "Barbary" headed for Spain with gold stolen from the New World. Unruly pirates were cast into the "brig", a shipboard jail, and awaited a punishment that might include "keelhauling", "dancing the hempen jig", or "meeting the captain's daughter", none of which were as pleasant as they sounded.

Pirate Stereotypes: Hooks, Pegged Legs, and Eye Patches

Many a pirate has been depicted with the now characteristic eye patch, hook, or pegged leg, but how much of this is fact? Obviously, piracy was a dangerous occupation. Flying splinters, explosive gasses from cannons and muskets, and any number of diseases could mean the loss of an eye. Prosthetic eyes made from shell were uncomfortable and expensive, so most sufferers simply covered the missing or damaged eye with a patch. It was cheap, comfortable, and practical. Contrary to some myths, pirates probably did not wear eye patches as a means of preserving their night vision. Not only that, but having only one eye created a huge disadvantage for the wounded pirate, making him a liability to the rest of the crew.

There are a few recorded instances of pirates wearing wooden prosthetics, but amputation was a common treatment for injuries to the extremities, so pegged legs, like eye patches, were not just found on pirates. Eighteenth century medicine was a dangerous and expensive undertaking. Even if the patient managed to survive the amputation, he might still die from gangrene or a staph infection. Then there was the matter of paying for the prosthetic. Historically, there is evidence for prosthetics of all kinds among pirates, but it is doubtful that after such a crippling injury a pirate could continue his rogue's lifestyle. It is far more likely that the injured crewman was left behind somewhere rather than imperil the rest of the ship. Oddly enough, there are quite a few records of pirate Articles which offer compensation for such an injury, though the likelihood of a pirate ever surviving to collect this compensation was slim.

Pirate Fibs: The Flying Dutchman and Other Tales

A great number of pirate legends have gained recent exposure, thanks in part to modern cinema and children's television. One such legend is that of The Flying Dutchman, a ghost ship reported by sailors near the Cape of Good Hope in Africa. The ship's captain, reportedly a Dutchman named Bernard Fokke, was understood to hold the record for the fastest transit between Holland and the West Indies. Some speculated that Bernard had made a deal with the devil in order to make the trip so quickly, but common sense would say that this was probably not the case. The story goes that Bernard's ship encountered a fierce storm while rounding the tip of Africa, but the stubborn captain refused to give way to the storm, allegedly vowing that he would make it through even if it took him until the end of time. Of course, the ship was lost in the storm. From that day forward, sailors off the coast of Africa would report seeing a ghostly ship foundering in the frequent storms that ravage the cape. The story itself dates from the early 1600's and is similar to the Christian folktale of the Wandering Jew, although some credit the story to Captain Falkenburg, while others say the captain's name was Hendrick Van der Decken. No matter what the version, the tale ends with the ship being lost with all hands aboard. Sailors feared the ghostly image of the doomed ship as an omen of bad fortune, and storms never failed to follow her. There have been reported sightings of the Flying Dutchman right up until the 19th and 20th centuries, one of which was made by Prince George of Wales.

Another notable legend was that of Davey Jones. Unlike the cinema interpretation, the real Davey Jones was a reference to the devil or any evil spirits believed to haunt the seas. To be sent to "Davey Jones' Locker" meant to die at sea, and obviously, not be on your way to heaven. A sailor gone to Davey Jones' locker would eventually end up as another lost soul to man Captain Davey's unearthly pirate ship, an idea which was heavily embellished upon by Hollywood. As for the appearance of Jones himself, no one can say for certain, though the representation of him as having tentacles for hair is an interesting one. It is believed generally that he may have resembled a mermaid or kraken, but more likely he resembled a ghost or some other sort of demon. The interpretation was really up to the one hearing the tale. There are quite a few references to Davey Jones in pirate lore. The term itself dates back to 1751 and a man named Roderick Random. Davey Jones was the sailors' devil, and his "locker" was the deep sea where he kept the souls of dead sailors. Over time, the reference to Davey Jones came to mean anything bad. To "be in Davey's grip" or to "have the Jonses" meant to be frightened, and a pirate's favorite curse might be that he would "see you to Davey Jones' locker", a very serious threat.

Unconventional Pirates: Explorers of the New World

When one thinks of pirates, the image of a mapmaking explorer hardly comes to mind, but quite a few famous pirates were responsible for shaping the face of history through exploration in the new world. During the Golden Age of Piracy, America was still a group of small colonies and the Caribbean, or West Indies, was controlled mostly by the Spanish and the French. A privateer, or liscenced pirate, was someone who had been hired to make life miserable for the enemies of a particular government.

One of the most notable of these privateers was Captain Henry Morgan of Wales. Morgan arrived in Barbados as part of an expedition sent by Oliver Cromwell under the command of another notable privateer, General Venables, in 1655. After capturing the island of Jamaica, he was part of the flotilla that attacked Santiago, Cuba, and in 1663, commanded his own ship that attacked the Mexican mainland and the port of Campeze. In 1665, Morgan began conducting his notorious affairs on land, landing at Frontera and marching 50 miles inland to attack Villahermosa. On the way back to Jamaica, Morgan paused long enough to sack Granada in modern day Nicaragua. In 1668, he attacked the town of El Puerto de Principe in Cuba. Later that same year, Morgan vowed to lay seige to the town of Portobello, and successfully captured the fort of San Geronimo. In 1670, Captain Morgan enacted his most daring plan ever, an attack on Panama, and in 1671, Morgan succeeded where even the great Frances Drake had failed and took not only Panama, but every last island and town he encountered along the way. By the time he was 45, this wealthy privateer had been made governor of Jamaica by King Charles II. Not bad for a pirate.

Other pirates were perhaps not so charmed as Henry Morgan. Take the brief career of Edward Teach, otherwise known as Blackbeard. Born in Bristol, England, around 1680, he joined the privateers during Queen Anne's War. Arriving in the Bahamas in 1716, he apprenticed for a year under Admiral Hornigold before receiving his own ship, the Concorde, in 1717. Blackbeard renamed his ship the Queen Anne's Revenge, and in 1718, sailed north to the Carolinas. Blackbeard settled in Bath Town after receiving a pardon from Governor Eden. When Teach met fellow pirate Stede Bonnet later that same year, he was so amused by the "dandy" captain that he took Bonnet and his men into his own company. By the end of 1718, Blackbeard had parted ways with Stede Bonnet and had managed to outstay his welcome in Bath Town. He was killed by Lieutenant Maynard under the direction of Virginia's Governor Spottswood near the town of Okracoke.

Teach had built for himself a reputation as a devilish fiend, but firsthand accounts relate that quite the opposite was true. Unlike his fellow pirates, there are no records of anyone ever dying at the hands of Blackbeard, even during a pillaging. Reports also say that he had a number of wives, fourteen to be exact, and that Teach was generally kind to those who cooperated. Accounts say that Blackbeard was a master of intimidation and theatrics, placing lit fuses under his hat or in his beard in order to give himself a more fiendish appearance.

Summary

There is no question where romanticism ends and history begins, but this fact has done nothing to dampen the pirate spirit. In all, the pirate has been the idealistic symbol of brotherhood and freedom for generations, in spite of their historically uncivilized behavior. Pirate tales of sea monsters and fabulous treasures will continue to enchant and inspire generations to come, ensuring that the pirate mystique of sailing ships and exotic ports will live on indefinitely.

Πέμπτη 15 Ιουλίου 2010

Sea Witch Review

Sea Witch
The first voyage of Captain Jesamiah Acorne

~ Synopsis ~

The Caribbean, a Pirate. and a White Witch. Sea Witch will probably be the best pirate story you have read since "Frenchman's Creek". Pirates will be the number one genre interest for the next few years with "Dead Man's Chest", the sequel to the hugely successful movie "Pirates of the Caribbean - The Curse of the Black Pearl"with a third film, "At World's End" scheduled for 2007. Johnny Depp's exciting creation of Captain Jack Sparrow puts the subject of pirates firmly back into everyone's imagination.

But if Jack Sparrow is the Captain of that particular ship, then my creation of Jesamiah Acorne, with his humour, cheek, sheer heroism - and his trademark fluttering blue ribbons - is most assuredly the First Mate.

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The Time : The Golden Age of Piracy - 1716.

The Place : The Pirate Round - from the South African Coast to the sun drenched Islands of the Caribbean.

Escaping the bullying of his elder half brother, from the age of fifteen Jesamiah Acorne has been a pirate with only two loves - his ship and his freedom. But his life is to change when he and his crewmates unsuccessfully attack a merchant ship off the coast of South Africa.

He is to meet Tiola Oldstagh an insignificant girl, or so he assumes - until she rescues him from a vicious attack, and almost certain death, by pirate hunters. And then he discovers what she really is; a healer, a midwife - and a white witch. Her name, an anagram of "all that is good." Tiola and Jesamiah become lovers, but the wealthy Stefan van Overstratten, a Cape Town Dutchman, also wants Tiola as his wife and Jesamiah's jealous brother, Phillipe Mereno, is determined to seek revenge for resentments of the past, a stolen ship and the insult of being cuckolded in his own home.

When the call of the sea and an opportunity to commandeer a beautiful ship - the Sea Witch - is put in Jesamiah's path he must make a choice between his life as a pirate or his love for Tiola. He wants both, but Mereno and van Overstratten want him dead.

In trouble, imprisoned in the darkness and stench that is the lowest part of his brother's ship, can Tiola with her gift of Craft, and the aid of his loyal crew, save him?

Using all her skills Tiola must conjure up a wind to rescue her lover, but first she must brave the darkness of the ocean depths and confront the supernatural being, Tethys, the Spirit of the Sea, an elemental who will stop at nothing to claim Jesamiah Acorne's soul and bones as a trophy.

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Praise for Sea Witch
"In the sexiest pirate contest Jesamiah Acorne gives Johnny Depp's Jack Sparrow a run for his money."
Sharon Penman

"Sea Witch gives us everything we want in a grand pirate adventure - swashbuckling action, great villains, lovely women in distress, sea fights and adventures on land, all grounded in solid research that gives the book a real feel of authenticity. This is a terrific read for lovers of pirate tales, lovers of historical fiction, and lovers of great adventure stories."
James L. Nelson

"A wonderful swash-buckler of a novel. Fans of Pirates of the Caribbean will love this to pieces of eight! A fabulous splash of piratical adventure on the high seas. Prepare to be abducted by a devil-may-care pirate and enchanted by a white witch. Mayhem and magic, splendour and squalor, beautiful ships, dangerous pirates and wild women, Helen Hollick has written a fabulous historical adventure that will have you reading into the small hours!"
Elizabeth Chadwick

"Helen Hollick has it all!  She tells a great story, gets her history right and writes consistently readable books!'

 Bernard Cornwell


Publisher      :      CallioPress
ISBN      :      978-0-85778-037-9

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