Thursday, July 29, 2010

Don't Shoot the Shyster!



Once again I've been dragged, kicking and screaming, into political punditry.  For the past week now, friends of mine in America and elsewhere have been emailing me a document which appears to be by the controversial lawyer-apologist Robert Amsterdam.  The header reads "The Bangkok Massacres: A Call for Accountability:  The Thailand White Paper Final by Robert Amsterdam".   These emails to me invariably include comments like "Do something about this!" Though what I am supposed to do, I am not quite sure.   Procrastinating as long as I could — after all, I did have Mahler 3 to conduct — I finally got around to double-clicking the icon today.  It was then that I learned that the document is seventy-five pages long.

As I started to read it, I realized that this document has something in common with a novel by my friend Norman Spinrad called The Iron Dream.   In this book, Spinrad used novelistic license to alter one tiny moment in our past.  He takes a real-life historical figure, a mediocre artist named Adolf Schickelgruber, and instead of leaving him in Europe, causes him to emigrate to the United States where he becomes a mediocre science fiction writer.  The book, then, is the "award-winning novel" that might have been written by this person — and it's a bizarre epic fantasy about blonde, noble Aryans conquering evil, quasi-semitic lower orders of humanity to bring about a shining future.  It's the Lord of the Rings version of the Third Reich.

Now, in real life, Schickelgruber didn't emigrate to America, but did change his surname to Hitler.  The rest you know.

Mr. Amsterdam's White Paper has a great deal in common with Norman Spinrad's novel, although it doesn't purport to be a novel.   Both pieces change a little bit of history and extrapolate an edifice of the imagination from that little change.  The White Paper is, in its own way, as much of a masterpiece as The Iron Dream, but to understand why, one must first consider what it is that a novelist does, and what it is that a lawyer does.

Both novelists and lawyers build houses of cards.  But although a novelist may invent anything that he likes, he is only successful insofar as the foundation he builds on is one of truth.  A novel only truly speaks to the reader if in that novel the reader can recognize himself.  As the Dutch novelist Gerard Reve said, "Ik lieg de waarheid."— "I lie the truth."

What a lawyer ostensibly does is very similar.  He builds up, through what is hopefully an overwhelming preponderance of evidence, a viable, sequential story — a sort of novel, if you like.  But a lawyer's primary loyalty is not to truth.  It is to the client.  His sole motivation is convincing the jury — you, the reader in this case — that whatever it is his client is supposed to have done, he didn't do it.  The cards from which the house of cards is built may all be "truths" ... but the foundation of the house need not be the truth at all.

In other words, a novelist must use invention to reach a truthful conclusion ... whereas a lawyer may well use truth to get to a conclusion that is pure invention.

Of course, truth by itself seldom leads to untrue conclusions.  This is where the lawyer must have recourse to the most important weapon in his armoury: the half-truth.

Recently, when Christiane Amanpour was badgering Mr. Abhisit on Hard Talk, she tried to ambush him with the challenging statement "You weren't elected."  Our prime minister decided to respond by giving an elaborate explanation of Thailand's parliamentary process.  This was not the ideal way of dealing with her.  Although everything that the prime minister said was true, Ms. Amanpour did not make the statement in order to elicit the truth.  It was to provoke drama, and the proper response should have been something like, "What a stupid statement: in a parliamentary democracy, the prime minister is never directly chosen by the electorate.  Didn't you learn that in school?  And you call yourself British!"  Ms. Amanpour uttered a half-truth as though it were a whole one; she should have been called on it.  To start explaining, to start justifying, is already to concede the validity of the half-truth.  You're letting the other side choose the terms of discourse.  You're agreeing to fight on their turf.

Let's not start by falling for this.  

If I were to take every half-truth in the 75-page treatise and respond to it, I could probably win every single argument; but by then the war would have been lost.  And that is, of course, what Mr Amsterdam wishes people to do.    If he can set a few dozen officials in the Thai government to work denouncing his arguments and dredging up the facts, no one will notice what all this is actually about.

We will take Mr. Amsterdam at his word when he says that he is Mr. Thaksin's lawyer.  But it may seem a little odd for him to be defending someone who has already been convicted.  Nevertheless, Mr. Amsterdam has a history of doing just that.  While one of his previous clients, Mr. Khordokhovsky of the Yukos case, was already in jail, he went on a international whitewashing binge.  He was, in effect, Khordokhovsky's lobbyist, not his lawyer.  His efforts were not entirely effective, however.  There is no reason his methods would work any better now, unless we allow them to.  Nevertheless, there is a real danger that Thailand's government will miss the point, rise to the bait, and waste a lot of valuable time trying "handle" Amsterdam's posturings.

I'm not a lawyer.  Therefore, I see no reason to answer point for point, as a lawyer would.  Rather, I would like to respond as a novelist.  Because Amsterdam's White Paper is as fictitious as any novel.  But if it somehow manages to illuminate some fundamental truth, it may still be considered valid.  And that is the question we need to answer: is it valid?  is it necessary?  or are we simply being distracted from what we should be looking at?

So let's start by cutting to the chase.  Who is Mr. Amsterdam working for, and what is the actual purpose of this so-called White Paper?  The answer, of course, is that his employer is Mr. Thaksin, and Mr. Amsterdam has been employed to rehabilitate his boss's reputation with the eventual goal of returning him to Thailand with his wealth intact and without having to suffer any prison time.

Once we understand that the White Paper is not actually a serious call for this government to come to account, nor a genuine, balanced analysis of the political situation in Thailand, but simply one of the tools Mr. Amsterdam has fashioned in order to realize his employer's goals, it will all make very much more sense.

Let us examine this piece of Mr. Amsterdam's arsenal for what it is.  You are the jury.  Cutting through the PR and the rhetoric, Mr. Thaksin is, at present, a condemned criminal on the lam.  The governments of the major powers have accepted the findings of Thailand's legal system.  And by hiring Mr. Amsterdam, Mr. Thaksin himself has acknowledged what the terms of discourse are.  It is up to Mr. Amsterdam to shift the war back to more congenial turf.  

What are the methods by which a lawyer gets a rapist, corrupt politician, or mafia don off the hook?  Well, there are several main ones, and the White Paper uses every single one of them. 

(a) Put the victim on trial.
(b) Overwhelm the jury with irrelevant facts and figures.
(c) Construct elegant arguments from flawed premises.
(d) Use emotionally-charged "power words" to alter the jury's perspective on events.
(e) Engage the jury's sympathy for the perpetrator
(f) Try the case in the court of public opinion and the media.

Once the White Paper is examined from the point of view of its author's motivation, most of its blandishments become irrelevant.

I'd like to discuss how the White Paper adheres to the classic rulebook.  

We'll start with (a): Put the victim on trial.  Well, here's where the fun begins.  "She made me do it" is the rapist's first line of defense and the white paper's title makes it quite clear that this will be the main thrust of Amsterdam's argument.  A historically selective introduction soon leads to an equally selective rundown of the events we all lived through this year, culminating in the chapter heading "crimes against humanity" in which Mr. Amsterdam makes much of the legal definition of such crimes.  He then tries to link this definition with the Rajprasong events, but by using the phrase "appears to be present", he manages to let himself off the hook.  Indeed, the phrase "appears to" is a constant mantra here, because he's not really accusing the government of a perpetrating a massacre.  He is saying that there is an appearance of a massacre.  This legalistic hairsplitting allows him be as sensationalist as he wants, while affording himself deniability every turn.

When I say that Mr Amsterdam is putitng the victim on trial, I am not saying that the victim is the government, the democratic party, or Mr. Abhisit.  The victim is Thailand.

Mr Thaksin has been convicted not of stealing from the democratic party, but of stealing from Thailand.  It is the judiciary system of Thailand that has convicted him, not the yellow shirts and not the elite.  When Mr Thaksin's government ordered the extrajudicial killing of thousands of alleged drug dealers, when it permitted the torture and slaying of Muslims in the South of Thailand, these were crimes against Thailand.  He has not yet been convicted of these latter crimes, but by painting Abhisit as a vicious murderer, Mr. Amsterdam is launching a preemptive strike against against the bringing of such charges against Mr. Thaksin.

As a lawyer Mr. Amsterdam knows perfectly well that the springtime violence does not rise to the level of a crime against humanity as defined by the laws he himself cites.  If this were true, U.S. presidents would have been on the dock for Kent State and Waco.  These were terrible tragedies — but hardly the Killing Fields or Buchenwald.  Surely Mr Amsterdam knows better than to equate an attempt by a recognized government to restore order, when a city has been held hostage by lawless ruffians for months, with the Holocaust.  

So let's return to the rapist analogy.  What is Mr. Amsterdam's point?  It is this:  "Okay, so maybe my client raped Thailand.  But Thailand was a bad girl.  She brought it on herself."

Let's look at (b) now, the irrelevant facts and figures.  I've already shown how Mr. Amsterdams quotes masses of legal data, makes it look as though it's relevant, then squirms out of the whole thing with the phrase "appears to."  His second chapter, a reductionist summary of the history of Thailand's constitutional development, is full of indisputable facts, but for real analysis one might want to read the commentary of a genuine historian such as David Wyatt.  This is the icing without the cake, and it's there to provide a cloak of verisimilitude to Mr. Amsterdam's specious arguments.

The flawed premise (c) is evident from the very opening sentence of Mr. Amsterdam's thesis.  "For four years," he says, "the people of Thailand have been the victims of a systematic and unrelenting assault on their most fundamental right ... self determination through genuine elections."

Powerful stuff.  But it is a half-truth.  The entire logical thread of the White Paper leads outward from this half-truth. and as the truth gets halved again and again, recursively, we finally end up what I would call a near-lie.   It is only the constant repetition of the word "appears" that prevents the paper from being actual lies.

You see, Mr. Amsterdam is protecting his client, but on a deeper level, he is protecting himself.  Proud as he is of the elegance of his constructed arguments, he is forced to tell us, in the small print, that it's a house of cards.  

To tell the whole truth version of this opening sentence would be to try to understand both sides of the issue, to comprehend not only that some people's rights were violated in the last four years, but that the reason they were violated may have been a reaction to similar, in many cases more egregious, violations during the Thaksin era.  This is not about an evil military elitist monolith clamping down on a noble, pro-people regime.  Rather it is the story of a regime that began with great optimism and with the highest of hopes, supported by almost everyone as a breath of fresh air ... a regime that moved steadily away from its professed principles towards repression, darkness, and corruption, until the only mechanism that could be found to stop the country's self-destruction was the unpopular and outmoded strategy of the military coup — a strategy that the military itself realized, almost immediately, was not working.  That military came to its senses and restored an elected government almost immediately and has so far in fact resisted the temptation to have another coup — though it has been at times needlessly meddlesome.  It is the story of groups of people, yellows and reds and others, unable to accept that a democracy thrives on diversity of opinion, and that in a mature democracy, when you lose an election, you don't seize airports or burn down shopping malls — you try to win the next one fair and square.  It is also the story of a leader having to choose on a daily basis between unacceptable alternatives, and finally coming up with a plan that has pleased no one — and which is therefore almost certainly the only correct one.

To tell the whole truth would be to describe this last year as only one of a series of dramatic milestones in an arduous journey towards democracy that has had reverses in the past, but is still clearly, inexorably, moving in the right direction.

He may or may not be a lawyer in this case, but a historian he's clearly not.

Mr. Amsterdam does not have a responsibility to tell us the whole truth.  His responsibility is to the source  of his paycheck.  His reasoning, by the very nature of who he is and what he does, is necessarily tainted.  

Semantics are Mr. Amsterdam's stock in trade and this falls into category (d).  Words like "dictatorship" are bandied about with reckless abandon.  His use of the word "truth" in his conclusion (that there can be no reconciliation without truth) is positively Orwellian.  And as this farrago of half-truths is destined to provoke conflict, his paper in fact proves his point.

Point (e) — to engage the jury's sympathy for the perpetrator — Mr. Amsterdam takes care of right at the beginning by trotting out our "rapist" in a nice clean suit, smelling like a rose.  He has instructed his client, slayer of Muslims, to speak of inclusiveness.   "We must renounce all violence", says the man under whose watch over two thousand alleged drug dealers appear (yes, I'm using legalspeak here too) to have been murdered to fulfill a quota requirement that could lead to a declaration of victory in a "drug war".   I think we're also supposed to feel sorry that the coup took away Mr Thaksin's right to vote, but of course in countries like the U.S., criminals in many states lose that right.

My final item in my catalog of the shyster's arsenal is the "court of public opinion."  In this case, it is the only court that matters, because the conviction has already taken place.  

You may wonder why this long review doesn't actually take apart Mr. Amsterdam's arguments piece by piece. It is because, by and large, the arguments are perfectly sound —they are just based on incomplete or selective evidence.  

Yes, of course, Mr. Amsterdam, there should be accountability.  Yes, of course, the government has made some missteps, and the clumsy handling of internet censorship is one of them.  Yes, of course Thailand has a duty to investigate and prosecute.  Of course, actual accountability and actual investigation might land Mr. Amsterdam's client in more hot water.  So why not turn off the hot air for a moment and think about what would really be good for your client?

In short, this seventy-five document is a waste of our time, and a bad use of Mr. Thaksin's money.  It's unlikely to convince anyone except the already convinced.  It fails to connect the dots.  It's a failure as a logical construct, and it's a failure as fiction.  It is, however, like Norman Spinrad's novel, a triumph of the imagination.  Not only have the people of Thailand been had, but I fear that Mr. Thaksin has as well.


If Mr. Amsterdam cared a little more about his client and a little less about his paycheck, he would give him the following advice:  Mr Thaksin, bend a little.  You're not in exile, you know.  Stop pretending that you were "kicked out of Thailand".   Come home and do your time.  Everyone will forgive you if you show just a little contrition.  If you want to be a real saint, and not just "play one on TV", you must be prepared for a little real suffering.  You did a lot of good things for this country, but you got greedy.  You got careless.  But the Thai people are actually pretty good at reconciliation — it's built into their culture.  Put away your wallet and start trusting them.  

In the meantime I will try to think of a practical use for this White Paper.  I can only think of one so far, but it's not going to stay white for long.






Sunday, July 18, 2010

Sneak Preview



This video shows the orchestra sight-reading the first movement at the first rehearsal.  So .... in three days, the Thailand premiere of one of the world's most spectacular symphonies is going to happen!

Go here for tickets:

FOR ENGLISH, please go to:

FOR THAI, please go to:


Don't miss....

Mahisorn Hall, July 21 at 7:30 pm!
More info: (02) 231-5273

Saturday, July 10, 2010

China (continued)


Sorry to tell all these stories in the wrong order, but I think I should go back and continue the tale of the China summit while it's still relatively fresh in my mind.

The day after the curious production of La Traviata, the Chinese planned a long day of speeches in which all of us had to talk for 20 minutes about the state of opera in our countries. Interestingly enough, they had a lady with a bell to go "bong" when the minutes were up, but most speakers seemed to ignore her.

Some of the stories people had to tell were far removed from our experiences.  Many of the European houses wanted to tell China to find its own voice, develop its own style, rather than spending this kind of money in imitating the west ... with the unspoken implication that no matter what the east does, it will never be the west.  Which is of course quite true; insofar as opera companies attempt to be neo-colonial imitations of European companies, they will have little to contribute to progress in the arts.

Eventually the time came for my speech and I did mention some of the interesting things I had learned over the last few hours, including the fact that our annual budget is only 0.75% of that of our equivalent in Japanese, the New National Theatre of Tokyo's budget.

Our experience in Bangkok has been quite different from those of China on the one hand and Singapore on the other.  China has made a concerted effort, deciding that it needs parity in opera to get international respect.  Singapore, in its post-colonial way, has been slowly evolving its way towards a national opera, but in a more commercial perspective.  Both countries have mostly been mounting "top ten" works, but China has also produced some of its own operas, though I cannot tell if these are sort of assigned by committee or whether they spring from a single person's vision.

As a person with a European sensibility myself in most ways I am more drawn to seeing the operas composed by Chinese composers.  I don't want yet another Traviata.  This is I suppose how the Bangkok Opera differs as well; we keep trying to exercise a uniquely Asian perspective.

Later came the signing of the "opera treaty".

It was amazing to be on this document, which pledges mutual cooperation between instiutions like the Deutsche Oper, La Fenice, and little old Bangkok.

Amazing, too, to be taken to the restaurant where Peking Duck was invented, though I must admit I found it a little dry.

Most fun of all — the sitting around at the bar when it was all over.  A lot was achieved in terms of cooperation there.  I discovered that Korea is producing Lulu.  I'm going to organize a mass tourist trip to see it ... a weekend of Berg and Bulgogi sounds like just the thing ...

Wednesday, June 30, 2010

Of Kids and Compasses



After the big Sinfonietta concert last Sunday, which raised money for those affected by the Bangkok's recent violence, I was feeling very good about our kids.  I mean, here is this orchestra of 13-20 year olds, just four months old, and they're tackling really difficult music, like Beethoven 7, and sounding very believable indeed.  And doing the concert for the city of Bangkok was the kids' own idea.

Then, an odd thing happened.  One of our M.P.'s, Anik Amaranand of the democratic party, had the idea that this orchestra, assembled as it is from some of our most talented kids without any consideration of their social background, might provide be a sort of microcosm of our country -- in its best aspects -- and that the Sinfonietta might be almost a poster child for reconciliation.  

I am opposed to using the Sinfonietta as a political tool, but I agreed to let her hand out an anonymous questionaire to test her theory.  It is of course only a small sample, but there have been some fascinating results.

Are these, the most talented and creative young people (14-21) in our community, "yellow" or "red"?

It's a surprise.

42% of our kids don't sympathize AT ALL with the reds, and 35% don't sympathize AT ALL with the yellows.  15% are fairly sympathetic to the reds, while 21% are fairly sympathetic to the yellows.  NONE OF THEM is "very sympathetic" with EITHER color.

What I found even more impressive was the answer to the question: "Would you do something illegal or immoral if asked to by a beloved and respected authority figure?"  44% strongly disagreed and 36% disagreed.  This means that 80% of our kids have a problem with being asked by authority figures to do things they know are wrong.

63% strongly disagree that it is acceptable for a leader to be corrupt even if he benefits the country. The rest either disagree, or only agree "somewhat".  NO ONE AT ALL agreed totally with the premise.

This proves to me that, among the brightest and most creative young people around me, there is a far more centered moral compass, and a far more balanced view of right and wrong, than we might have imagined. 

This survey has given me an unexpected optimism about the future of this country.

What follows is the opening statement that I made at the kids' concert earlier this month.  I was thrilled to discover that what I said has been proved by the results of M.P. Anik's survey.  (I realize now that it was eccentric to be quoting Isaiah to an audience of Buddhists, but then again when I was a Buddhist monk, I preached a sermon comparing Phra Wetsandorn and Abraham and Isaac.)

WHAT I SAID AT THE CONCERT

When the young members of the Siam Sinfonietta, Thailand’s newest youth orchestra, told me that they wanted to do something special to help heal our wounded city, I was moved by their sincerity, their commitment, and the purity of their vision.   Reconciliation is truly a pathway of which it can be said, “A child shall lead them.”

I was moved but I should not have been surprised, because this is a very special group of musicians.  We spent an entire year finding them and they represent many segments of our society, many regions of this country, and an entire spectrum of religions and ideologies.  They are united only in their superlative musicianship and their absolute determination to perform the greatest music ever written with the greatest commitment and passion they are capable of.  In that these children have have come from such diversity towards a togetherness of purpose far greater than themselves, they are a microcosm of an entire nation.

We have all felt a special affinity with the governor’s initiative because he is a person who is clearly seen by all to be reaching out to all sides.  M.R. Sukhumbhand, you have proved yourself to be a governor not just for one segment of this city, but for all of us.  Every baht donated today will go toward your fund to help those affected by the crisis, regardless of color.  You have our absolute trust and our abiding hope.

Finally, I would like to say to our young people that the world sees what you do.  Your gesture of generosity and empathy has not only been noted by the media in Thailand.  A reporter from the Associated Press filed a story, and two days ago news of this concert was carried in the New York Times.  By yesterday morning, the news was in a dozen major newspapers around the world and by midnight last night I counted over a hundred mentions worldwide, including news organizations like NBC and Fox, and more than eighty newspapers.

From this we may learn that in the eyes of the world what these children believe, and what they have done, is as important as any pronouncement by a politician, or any act of a political entity.   These children have a voice.  The road to a peaceful future is difficult and dark, but their dedication and compassion may give us light enough to see our way.

Friday, June 18, 2010

China's NCPA



The level of attention paid to us was astonishing.  I had my own personal assistant, a very helpful young man named Zhang Ye, who told me had been on the security team for HRH Princess Sirindhorn during her recent trip to Beijing. I was escorted everywhere, my every need anticipated ... if there was a flavor of Big Brother here, it was soft-pedaled ... but let's just say I couldn't even go to the bathroom without a friendly smiling helper at my side....  Arriving desperate for a meal, I ended up going with the hotel's version of Hainanese Chicken Rice ... comfort food in an alien world.


Now, this National Center for the Performing Arts is absolutely staggering.  It doesn't have the gaudy "chinoiserie" of some late Empire art ... it goes all the way back to the purity of form and sweeping lines of the art of the Song Dynasty in my opinion.  The building itself is in the shape of a gigantic yin-yang, so it speaks to us of the balance of the cosmos. It has an opera house, concert halls, regular theatres, recital halls, and all sorts of nooks and crannies, as well as a lovely Chopin exhibit.

On the way to the NCPA I met my colleagues for the first time.  I think we were all a little disoriented (except of course for those already working with the Chinese on coproduction.)  I soon saw familiar faces, though.  Toh Weng Cheong of the Singapore Lyric Opera and Warren Mok of Hong Kong were both there, as well as one of best friends, soprano Nancy Yuen.

We were escorted to an impressive opening ceremony, where Lorin Maazel gave a speech denouncing Regietheater and the dignitaries of the NCPA, such as Chen Ping, president of it all, were present.  Then came the first entertainment of the weekend, a performance of Traviata in the new hall which certainly showed off all of its technical specs to great advantage, though some of the western opera company heads were less than enthralled about its musical aspects.  Nevertheless, this was an ambitiously designed production and gave us a great taste of what the NCPA is capable of....

I'll try to catch up on this narrative tomorrow.

Tuesday, June 15, 2010

China....


So, last week I found myself in Beijing, as a guest of the Chinese ministry of culture, representing the Bangkok Opera at an international summit which featured all sorts of Big Names ... the Deutsche Opera Berlin, La Fenice, Opera Australia, den Norske Opera and so on ... celebrities like Lorin Maazel ... a big production of Traviata in a huge architectural phantasmagoria of an opera house ... and so on.

I wanted to do a day by day blog about it from Beijing, but to my amazement I discovered that blogger was blocked in China, as were Twitter, Facebook, and Youtube.  So China was truly another universe.  It was in a sense like a three-day mission to Mars.  Yet it was an alien world that had many points in common with my own world.  And shared many of our hopes, fears, dreams, and ambitions.  Despite many differences, I felt welcomed and very much at home, and left China with a powerful feeling of wanting to help, and to accept their help.   Clearly, our strengths and weaknesses complement each other well.

The Chinese have built an incredible cultural center and are investing enormous amounts of money into creating an internationally viable opera.  Thailand, on the other hand, has an ageing cultural center and have invested very little money in creating an opera company ... yet its opera company has a surprising amount of international traction, with real coverage in Opera, Opera News, the New York Times, and all those "real" media.  It does seem that we have things we can offer each other, and by the end of the conference we were figuring out what those things might be.

So, from a wild opening ceremony where Lorin Maazel gave a speech blasting Regietheater to a closing dinner featuring duck done a dozen ways, from stuffy panels to deals in hotel bars, there's a lot to tell about those three days in China.  But now that I have almost daily rehearsals for our forthcoming kids' concert this Sunday, I can only blog in bits and pieces, so I'll have to tell more tomorrow....

Sunday, June 13, 2010

My Own Private Road Map


Before I went to China last week, M.R. Usnisa of the Bangkok Post happened to ask me "Well ... if you were prime minister, what would you do?"

This is the kind of question we all ask ourselves sometimes.  And most of the time, we realize that, much as we would want to change the world, we ourselves would rather have that responsibility belong to someone else.

Nevertheless, it's true that, just as a private little fantasy, I had already drawn up a road map of my own.  When she found out, she asked me to email it her ... which forced me to dig it out and look at it.

Well ... it is impossible, and it would cost too much, and it would annoy too many people, and it would shake too many monkeys out of too many trees, but here it is.  Anyone can play at this game.

Somtow's Road Map


1. A Complete Overhaul of the Educational System.
Make high-quality education genuinely universal.  Work to end the "unquestioning rote learning" philosophy of education that pervades even the best institutions in the country.  Take a good look at revisionist textbooks.  Encourage schools to teach openmindedness in analysing the lessons of history.  Teach kids to question their teachers.  Teach teachers how to teach.

2. Work towards inclusivity by battling linguistic and ethnic prejudices and by decentralizing.
Dialects shouldn't be treated as "second class".  Speakers should be empowered and not made to feel inferior.  It should be acceptable to teach school and make official pronouncements both in standard Thai and in regional dialects.  Speakers of standard Thai should be taught the linguistic principles of these dialects in school so that they stop being able to pretend they don't understand them.  This should extend towards minorities as well.  If a country has a single center, that center is an Achilles heel.  Make regional centers more important and give them the ability to decide for themselves how local issues should be handled.  In giving up some control, the center in the end becomes stronger and more credible.

3. Prosecute all sides equally if egregious breaches of law have occurred.
Don't let anyone who performs acts of vandalism get away with it even if the government thinks their viewpoint supports their own.  If the government does decide it should deal gently with those who break the law, it should still set clear limits, boundaries that no side may cross. Such limits should include seizing airports, city centers, arson, and intimidating people with opposing viewpoints with physical threats.

4. Make corruption socially unacceptable.
But don't just keep saying it's a bad thing.  Attack the root causes.  Make sure officials have real salaries instead assuming they will eke them out with bribes.

5. Make freedom of speech a central tenet of policy.
This doesn't mean endorsing hate speech or speech that incites violence.  But when such speech occurs, it should be dealt with through legal channels or with clear, unambiguous guidelines, and there should be judicial review of any government attempt to deal with such speech before any action can be taken by the government.

***
I sincerely believe that if those five points are addressed, the end result would be to address most of the things that people find problematic about Thailand's society today.  Elections would become real expressions of the well-thought-out opinions of real majorities — something that has never been true in any election in the history of Thailand.  Society would understand that agreeing to disagree is already a step forward.  It's not just that parts of this country are way behind the education curve; it's also that the parts that are ahead are not always told that thinking for yourself should be education's ultimate goal.  Real education is the key to narrowing the income gap as well.

In fact, I would submit that everything may well derive from this point, so perhaps the road map should actually consist only of a single item.  Too simplistic?  Yeah....

Saturday, June 12, 2010

Truth About Thailand


As a result of certain things I've written in this blog, I was invited to a meeting at Thammasat University a couple of weeks ago.  Members of the Thai press and other media were there.  The purpose of the meeting was whether something could be done about what many people around here believe to be highly unbalanced coverage of Thailand in some of the western media.

Although the exchange of views started off in a pretty sane way, it was clear that there was a lot of anger and eventually one part of the group got into how we should all direct our energies in punishing CNN, banning it, and so on.

I got up and I explained my view, which is that this is precisely the kind of thinking that feeds into the preexisting prejudice that this country must necessarily have an evil military regime going around oppressing everyone.  I said, "What you are complaining about is that these people provide only a half-open window to the truth.  The answer to this problem is not to slam shut that window, but to open all the other windows and let in all the light.  If you do so, you have to trust that most people are smart enough to form a balanced opinion."

The combination of my plain speaking and humorously quirky Thai must have got through to some people because I suddenly found myself being nominated to lead a task force to do just that ... "open the windows".  Well, it's more of a think tank and I don't "lead" it, because I don't think there should be a leader.  It's more of a group effort.

One thing I did do was put up a website, truth-about-thailand.com, and invited several people who (a) could communicate well in English and (b) weren't affiliated with the government or any news station strongly identified with a political party ... to post any articles or letters to that site.  So far I've invited half a dozen people and about four have put up material.  The idea is that if all this material is in one place, it reduces the amount of time needed for a responsible journalist to round out his story.

The site is not a chat board, so comments are disabled.  There will be links to a variety of news clips as well once they are identified and made available.

While I was away in China last week, I felt quite incapacitated at times, as someone who is used to constantly blogging, leaving messages on FB, and tweeting; all three things are blocked in China as is youtube.  It was strange to be in a situation so techologically advanced, so similar to our society in some ways, yet so cut off at the same time.  The internet at the Regent was faster and less quirk-ridden than the Internet here in Bangkok, yet I couldn't reach many of the sites that are my daily bread.

It did make me appreciate the fact that Thailand is a far more open and tolerant society than most of its neighbors, despite the recent horror.  Anyway, I couldn't blog about China although my trip there may well have huge consequences for the arts in this country and the way this country can be perceived by others.  Now that I'm back, however, I'll talk about all that soon.  There is so much on my plate now that I have to snatch the time to write this blog.

While I was gone, I did receive some emails congratulating me ... but didn't know what I was being congratulated for.

I found out from Bruce Gaston on my return than many people were crediting me and my "Dan Rivers" article (which seemed to have gone viral) for the fact that CNN has in fact started to acknowledge the existence of more complex issues and that the issue of the armed militants has finally been discussed.  Even though the acknowledgement seems to have come almost "through gritted teeth" it is nevertheless real progress.

Of course, my blog was only one of probably hundreds of reactions that may have come to their attention, but it may have put the issues in terms that someone there could appreciate.  Anyway, I received an email from no less a figure than the secretary-general of ASEAN, offering an appeciation of my help ... and also reminding us all that Thailand's international perception is far from salvaged at this stage.

On my return, the kids in our youth orchestra told me they wanted to do something to help those affected by the recent tragedy (of whatever political color) and they wanted it to be the thing they do best.  So, on June 20, a Sunday afternoon so that the whole family can come, they will perform a concert at the Thailand Cultural Center ... a REAL concert, with big works like Beethoven's Seventh Symphony. All the income from this concert will be handed to the Governor of Bangkok to help his "Together we can" fund.  I've agreed that giving it directly to the Governor is okay because I saw that during the troubles, despite his political affiliation, he clearly tried to function as the Governor of all Bangkokians, not some of them.

So, you can reserve seats by calling Ratana at (02) 231-5273 or send an email to ratana@bangkokopera.com.

Monday, May 31, 2010

Birth of an Orchestra


Jay receiving flowers from the Executive VP of Siam Commercial Bank after the premiere of Aldebaran

From today's THE NATION ... I suspect that from the words "Last Week" they must have held this piece for a while owing to a few slightly more newsworthy happenings in Bangkok....

BIRTH OF AN ORCHESTRA18-year-old  composer’s astronomical creation highlights youth orchestra’s debut

The Siam Sinfonietta, a new symphony orchestra considering entirely of teenagers, made a splashy debut last week with concerts at Rajabhat University in Korat and the Mahisorn Hall at SCB Plaza in Bangkok.  Both events played to full houses and featured ambitious programming including two complete symphonies.

The orchestra first came together in March as a result of a widespread talent search by Somtow Sucharitkul, whose “adult” orchestra, the Siam Philharmonic, has been getting a lot of international attention lately for its bold programming and ecstatic musicianship.   But auditions and scouting had been going for at least a year beforehand.  At the “Bach to the Future” camp, a symphony orchestra was forged after three intense days.

“It’s a new approach to education,” says Somtow, “geared towards the most highly motivated, creative and talented young individuals in our society, who often find themselves stifled in an over-regimented teaching environment.”  A visit to a rehearsal finds Somtow touching on aspects of philosophy and music history more commonly found at an advanced university level.  In the middle of the famous first movement of Mozart’s 40th Symphony, he stops to ask the kids, “What key are we in?”  Winry, a lanky 15-year-old cellist, scratches his head  “F sharp minor?” “Right,” Somtow says.  “Why is that important?  What is about F sharp minor that is so shocking?”  “Because …” Jay, in the first violin section, stops to think, “it’s as far as you can get from G minor.”  “That’s it!” Somtow says.  “Mozart’s jolting the audience.  He’s saying, ‘Here we are, adrift, lost, far from the home key … and daring us to find our way home.  Now do you understand why it’s pianissimo? 

The kids have been listening in a way you rarely see kids listen in a classroom.  He picks up his baton.  The development section of the movement begins.  It’s hushed, magical. 

“Kids can play real music,” says Somtow, “with all the passion and intensity of a world-class orchestra.  The technique may not be all there yet, but they will learn it.  But they won’t play that way for you unless you respect their musicianship and show them how the act of creation is coming from them.”

In Korat last Sunday, and again on May 4th in Bangkok, the Siam Sinfonietta played with a maturity and sense of style not often found in Bangkok even in adult orchestras.  The programme contained two entire symphonies: Mozart’s Fortieth and what may have been the Thailand premiere of Haydn’s 83rd, “The Hen.”  Intonation was above average and sforzandi were crisp.   The Mozart was played with such radiant intensity that it led recording engineer Prateep, who records almost all classical concerts in Bangkok, to remark that it was “the best live No. 40 I’ve ever heard.”

Highlights of the concert, and showing that this is no ordinary youth orchestra, were works by Charles Ives (The Unanswered Question) and the world premiere of 18-year-old Jay’s minimalist composition Aldebaran.  This colorful, sci-fi flavored piece, while clearly showing the influence of Phillip Glass, had its own unique tonal flavor and was at times startlingly original. 
This is a very special orchestra which benefits from the attentions of internationally known musicians such as Somtow and Bruce Gaston (under whom they worked at camp in March) as well as coaching from Thailand’s top instrumentalists like Siripong Tiptan and Lertkiat Chongjirajitra.

The Siam Sinfonietta will soon be featured in a weekly reality show from the new @home channel on Truevisions and is planning regular concerts and tours both in this country and in exchange with other youth orchestras in Europe.

The Sinfonietta is still auditioning for a few daring and highly talented young musicians, especially in the string section.  Committed young musicians (age 12 and up) should contact K Pongsatorn, orchestra administrator, at orchestramanagerspo@gmail.com, tel (081) 498 8864.

Saturday, May 22, 2010

Permission to Quote

In response to the requests I have had to reprint some of the entries in this blog, I would like to say this: anyone may reprint individual blog entries, quote from the blog or translate it as long as the author's name and the original site is credited and the words "quoted by permission of the author" or other such language is included.  Thank you.

āļˆāļ”āļŦāļĄāļēāļĒāđ€āļ›ิāļ”āļœāļ™ึāļāļ–ึāļ‡āļāļĨุ่āļĄāļ„āļ™āđ€āļŠื้āļ­āđāļ”āļ‡

A group of people have worked to translate my words into Thai.  I'm told it was a "team effort involving lots of brilliant people" but the person who initiated the translation didn't identify them.  It gets across what I have been trying to say very well, and I hope that it can reach those it is intended for.


āļˆāļ”āļŦāļĄāļēāļĒāđ€āļ›ิāļ”āļœāļ™ึāļāļ–ึāļ‡āļāļĨุ่āļĄāļ„āļ™āđ€āļŠื้āļ­āđāļ”āļ‡
āļœāļĄāđ€āļ‚ีāļĒāļ™āļˆāļ”āļŦāļĄāļēāļĒāļ‰āļšัāļšāļ™ี้āļ–ึāļ‡āļžāļ§āļāļ„ุāļ“āđ€āļžāļĢāļēāļ°āđƒāļ™āļŠ่āļ§āļ‡āļŦāļāļŠัāļ›āļ”āļēāļŦ์āļ—ี่āļœ่āļēāļ™āļĄāļēāļŦāļĨāļēāļĒāļ„āļĢั้āļ‡āļ—ี่āļœāļĄāđ‚āļāļĢāļ˜ āļš่āļ­āļĒāļ„āļĢั้āļ‡āļ—ี่āļœāļĄāļœิāļ”āļŦāļ§ัāļ‡ āļัāļ™āļŠāļĨāļēāļĒāđāļĨāļ°āļ­ึāļ”āļ­ัāļ”āđƒāļˆ āđāļ•่āļĄีāļ„āļĢั้āļ‡āđ€āļ”ีāļĒāļ§āđƒāļ™āļŦ้āļ§āļ‡āđ€āļŦāļ•ุāļāļēāļĢāļ“์āļ­ัāļ™āļ™่āļēāđ€āļˆ็āļšāļ›āļ§āļ”āļ—ั้āļ‡āļŦāļĄāļ”āļ™ี้āļ—ี่āļ—āļģāđƒāļŦ้āļœāļĄāļ™้āļģāļ•āļēāđ„āļŦāļĨ āļ™ั่āļ™āļ„ืāļ­āđ€āļĄื่āļ­āđāļāļ™āļ™āļģāļ‚āļ­āļ‡āļ„ุāļ“ āļ„ุāļ“āļ§ีāļĢāļ° āļĄุāļŠิāļāļžāļ‡āļĻ์ āđ€āļ‚้āļēāļĄāļ­āļšāļ•ัāļ§āļัāļšāđ€āļˆ้āļēāļŦāļ™้āļēāļ—ี่ āđāļĨāļ°āļžูāļ”āđ€āļĢื่āļ­āļ‡āļ„āļ§āļēāļĄāļัāļ™ āļ„āļ§āļēāļĄāļœิāļ”āļŦāļ§ัāļ‡ āļ„āļ§āļēāļĄāļŦāļ§ัāļ‡āļ—ี่āļĒัāļ‡āđ€āļŦāļĨืāļ­āļ­āļĒู่āļ‚āļ­āļ‡āđ€āļ‚āļē
āđ€āļĄื่āļ­āļ„āļ§ัāļ™āļˆāļēāļ‡ āļˆāļ°āļĄีāļ„āļ™āļšāļ­āļāļ„ุāļ“āļ§่āļēāļžāļ§āļāļ„ุāļ“āļ–ูāļāļŦāļĨāļ­āļ āļ–ูāļāļĨ่āļ­āļĨāļ§āļ‡ āļ–ูāļāļ‹ื้āļ­āđāļĨāļ°āļ–ูāļāļ—āļĢāļĒāļĻ āļ§่āļēāļ„ุāļ“āđ€āļ›็āļ™āđāļ„่āđ€āļ„āļĢื่āļ­āļ‡āļĄืāļ­āļ‚āļ­āļ‡āļžāļ§āļāļ„āļ™āļŠั่āļ§āļ—ี่āļˆāļĢิāļ‡āđ†  āđāļĨ้āļ§āđ„āļĄ่āļŠāļ™āđƒāļˆāļ§่āļēāļ„ุāļ“āļˆāļ°āļĄีāļŠāļ°āļ•āļēāļāļĢāļĢāļĄāļĒัāļ‡āđ„āļ‡ āļ§่āļēāļ„ุāļ“āđ€āļ›็āļ™āļœู้āļ่āļ­āļāļēāļĢāļĢ้āļēāļĒ āļ™ัāļāļ§āļēāļ‡āđ€āļžāļĨิāļ‡ āļžāļ§āļāļ—āļģāļĨāļēāļĒāļ§ัāļ’āļ™āļ˜āļĢāļĢāļĄ āļžāļ§āļāđ€āļāļĨีāļĒāļ”āđ€āļˆ้āļē āļˆāļ°āļĄีāļ„āļ™āļāļĨ่āļēāļ§āļ§่āļēāļ„ุāļ“āļ—āļģāļĨāļēāļĒāļ āļēāļžāļĨัāļāļĐāļ“์āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđƒāļ™āļŠāļēāļĒāļ•āļēāļ•่āļēāļ‡āļŠāļēāļ•ิāđāļĨāļ°āļ‚āļ§āļēāļ‡āļāļēāļĢāļŸื้āļ™āļ•ัāļ§āļ‚āļ­āļ‡āđ€āļĻāļĢāļĐāļāļิāļˆ āļ—ี่āļĢ้āļēāļĒāļ—ี่āļŠุāļ”āļ„ืāļ­āđ€āļ‚āļēāļˆāļ°āļšāļ­āļāļ§่āļēāļ„ุāļ“āļ—ุāļāļ„āļ™āđ€āļ›็āļ™āļžāļ§āļāđ„āļĄ่āļĢู้āđ€āļĢื่āļ­āļ‡āļĢāļēāļ§āļ—ี่āđƒāļŠ้āļŠิāļ—āļ˜ิāđƒāļŠ้āđ€āļŠีāļĒāļ‡āļ—āļēāļ‡āļāļēāļĢāđ€āļĄืāļ­āļ‡āļ­āļĒ่āļēāļ‡āļœิāļ” āđ† āđ€āļžāļĢāļēāļ°āļ„ุāļ“āđ„āļĄ่āđ€āļ‚้āļēāđƒāļˆāļ›āļĢāļ°āļŠāļēāļ˜ิāļ›āđ„āļ•āļĒ
āļœāļĄāđ€āļāļĢāļ‡āļ§่āļēāļ„āļģāļžูāļ”āļ‚āļ­āļ‡āļ„āļ™āđ€āļŦāļĨ่āļēāļ™ั้āļ™āđ€āļ›็āļ™āļˆāļĢิāļ‡āļ­āļĒู่āļŦāļĨāļēāļĒāļāļĢāļ“ี āļāļēāļĢāđ€āļิāļ”āđƒāļŦāļĄ่āļŠั่āļ§āļ‚้āļēāļĄāļ„ืāļ™āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ€āļĢāļēāļ—ี่āļ„ุāļ“āļ­āļĒāļēāļāđ€āļŦ็āļ™ āļāļĨāļēāļĒāđ€āļ›็āļ™āđ€āļžีāļĒāļ‡āļ­āļĢุāļ“āļĢุ่āļ‡āļ­ัāļ™āļˆāļ­āļĄāļ›āļĨāļ­āļĄ āļ­āļēāļŠāļāļēāļāļĢāļĢāļĄāļĄāļēāļāļĄāļēāļĒāļ–ูāļāļ่āļ­āļ‚ึ้āļ™ āđāļĨāļ°āļ—ั้āļ‡āļŠāļ­āļ‡āļ่āļēāļĒāļ็āļ‹่āļ­āļ™āļ„āļ§āļēāļĄāļˆāļĢิāļ‡āļŠāļģāļ„ัāļāļŦāļĨāļēāļĒāđ€āļĢื่āļ­āļ‡āđ„āļ§้āđƒāļĄ่āđƒāļŦ้āļ­ีāļāļ่āļēāļĒāļĢู้
āļ–ึāļ‡āđāļĄ้āđ€āļĢื่āļ­āļ‡āđ€āļŦāļĨ่āļēāļ™ี้āļˆāļ°āđ€āļ›็āļ™āļˆāļĢิāļ‡āđƒāļ™āļŦāļĨāļēāļĒāļāļĢāļ“ี āļœāļĄāļ็āļ­āļĒāļēāļāđƒāļŦ้āļžāļ§āļāļ„ุāļ“āļĢู้āļ§่āļēāļĄัāļ™āđ„āļĄ่āđ„āļ”้āļĨāļšāļĨ้āļēāļ‡āļ„āļ§āļēāļĄāļˆāļĢิāļ‡āļ‚้āļ­āļ­ื่āļ™ āļ„āļ§āļēāļĄāļˆāļĢิāļ‡āļ—ี่āļัāļ‡āļ­āļĒู่āđƒāļ™āđƒāļˆāļ„ุāļ“ āđ€āļĄื่āļ­āļ„ุāļ“āļ้āļēāļ§āļ­āļ­āļāļĄāļēāļĢ้āļ­āļ‡āļ—ุāļāļ‚์āļ”้āļ§āļĒāļāļēāļĢāļ›āļĢāļ°āļ—้āļ§āļ‡āļ­āļĒ่āļēāļ‡āļŠัāļ™āļ•ิ
āļ›āļĢāļ°āļ•ูāļ—ี่āļ„āļ§āļĢāđ€āļ›ิāļ”āļĢัāļšāļ„ุāļ“āđ€āļĄื่āļ­āļŦāļĨāļēāļĒāļ›ีāļ่āļ­āļ™ āđ€āļĄื่āļ­āļ›āļĢāļ°āđ€āļ—āļĻāļ™ี้āļ้āļēāļ§āļŠู่āļĢāļ°āļšāļ­āļšāļ›āļĢāļ°āļŠāļēāļ˜ิāļ›āđ„āļ•āļĒ āđ€āļ›ิāļ”āļ­āļ­āļāļŠ้āļēāđ€āļิāļ™āđ„āļ› āļāļēāļĢāļĻึāļāļĐāļēāļ—ี่āļ„ุāļ“āļ•้āļ­āļ‡āđƒāļŠ้āđ€āļžื่āļ­āļˆāļ°āđ„āļ”้āļĄีāļŠ่āļ§āļ™āļĢ่āļ§āļĄāđƒāļ™āļŠัāļ‡āļ„āļĄāļ­āļĒ่āļēāļ‡āđ€āļ—่āļēāđ€āļ—ีāļĒāļĄ āļ–ูāļāļ›ิāļ”āļั้āļ™āđ„āļ§้āļ™āļēāļ™āđ€āļิāļ™āđ„āļ› āđ€āļŠีāļĒāļ‡āļ—ี่āļžāļ§āļāļ„ุāļ“āļĄีāļĄāļēāđ‚āļ”āļĒāļ•āļĨāļ­āļ”āļ™ั้āļ™āļ็āļ–ูāļāļžāļšāļŠ้āļēāđ€āļิāļ™āđ„āļ› āđāļĨāļ°āđ€āļžāļĢāļēāļ°āļ§่āļēāļ–ูāļāđ€āļ็āļšāļัāļāđ„āļ§้āļ™āļēāļ™āđ€āļŠ่āļ™āļ™ั้āļ™ āđ€āļĄื่āļ­āđāļŠāļ”āļ‡āļ­āļ­āļāđ„āļ”้āļĄัāļ™āļˆึāļ‡āļ—āļģāļĨāļēāļĒāļŠิ่āļ‡āļ•่āļēāļ‡ āđ† āļˆāļ™āļžิāļ™āļēāļĻ āđāļĨāļ°āļ„āļ§āļēāļĄāļžิāļ™āļēāļĻāļĢ้āļēāļĒāđāļĢāļ‡āļ—ี่āļŠุāļ” āđ„āļĄ่āđƒāļŠ่āļŠิ่āļ‡āļ—ี่āđ€āļิāļ”āļ‚ึ้āļ™āļัāļšāļŦ้āļēāļ‡āļŠāļĢāļĢāļžāļŠิāļ™āļ„้āļēāđāļĨāļ°āļ˜āļ™āļēāļ„āļēāļĢāđ„āļĄ่āļี่āđāļŦ่āļ‡ āđāļ•่āđ€āļ›็āļ™āļ„āļ§āļēāļĄāļžิāļ™āļēāļĻāļ—ี่āļ„ุāļ“āļ่āļ­āļ‚ึ้āļ™āļัāļšāļ•ัāļ§āđ€āļ­āļ‡
āđāļ•่āļœāļĄāļ­āļĒāļēāļāđƒāļŦ้āļ„ุāļ“āļĢู้āļ§่āļēāđ€āļĄื่āļ­āļžูāļ”āļ–ึāļ‡āļāļēāļĢāļ›āļĨāļ”āļ›āļĨ่āļ­āļĒāļˆิāļ•āļ§ิāļāļāļēāļ“āļ‚āļ­āļ‡āļĄāļ™ุāļĐāļĒ์ āļ›āļĢāļ°āļ§ัāļ•ิāļĻāļēāļŠāļ•āļĢ์āļ­āļĒู่āļ‚้āļēāļ‡āļ„ุāļ“ āļŦāļ™āļ—āļēāļ‡āļŠู่āļ›āļĢāļ°āļŠāļēāļ˜ิāļ›āđ„āļ•āļĒāļ—ี่āļŠāļĄāļšูāļĢāļ“์āļāļ§่āļēāļ™ี้āļ­āļēāļˆāļˆāļ°āļĒāļēāļāļĨāļģāļšāļēāļ āđāļ•่āđ„āļĄ่āļĄีāļŠิ่āļ‡āđƒāļ”āļŦāļĒุāļ”āļĒั้āļ‡āđ„āļ”้ āļ„ุāļ“āđ„āļĄ่āđ„āļ”้āđāļž้āļŠāļ‡āļ„āļĢāļēāļĄāļ„āļĢั้āļ‡āļ™ี้ āđāļ•่āļœāļĄāļŦāļ§ัāļ‡āļ§่āļēāļ„ุāļ“āļˆāļ°āđ„āļ”้āđ€āļĢีāļĒāļ™āļĢู้āļˆāļēāļāļĄัāļ™ āļ„āļģāļ–āļēāļĄāļ„ืāļ­āđ„āļĄ่āđƒāļŠ่āļ§่āļēāļ„ุāļ“āļˆāļ°āļŠāļ™āļ°āļŠāļ‡āļ„āļĢāļēāļĄāļ™ี้āđ„āļŦāļĄ āđāļ•่āļˆāļ°āļŠāļ™āļ°āļ­āļĒ่āļēāļ‡āđ„āļĢāļ•่āļēāļ‡āļŦāļēāļ āļˆāļ°āļ”้āļ§āļĒāļ„āļ§āļēāļĄāļ§ุ่āļ™āļ§āļēāļĒāđāļĨāļ°āļāļēāļĢāļ™āļ­āļ‡āđ€āļĨืāļ­āļ” āļŦāļĢืāļ­āļāļēāļĢāđ€āļˆāļĢāļˆāļēāļ›āļĢāļ°āļ™ีāļ›āļĢāļ°āļ™āļ­āļĄāļ­ัāļ™āļĒāļēāļ§āļ™āļēāļ™āđāļĨāļ°āđ€āļˆ็āļšāļ›āļ§āļ” āļ”้āļ§āļĒāļāļēāļĢāļžัāļ’āļ™āļēāļ—ีāļĨāļ°āļ‚ั้āļ™āļ­ัāļ™āđ€āļ›็āļ™āļ§ิāļ–ีāļ­āļēāļĢāļĒāļ°
āļ­āļēāļˆāļĒāļēāļāļ—ี่āļ„ุāļ“āļˆāļ°āđ€āļŠื่āļ­ āđāļ•่āļŦāļĨāļēāļĒāļ„āļ™āļ—ี่āļ–ูāļāļ›้āļēāļĒāļŠีāļ§่āļēāđ€āļ›็āļ™āļĻัāļ•āļĢู āļĨ้āļ§āļ™āļĄีāļ„āļ§āļēāļĄāļัāļ™āļŠูāļ‡āļŠุāļ”āļĢ่āļ§āļĄāļัāļ™āļัāļšāļ„ุāļ“ āļĒāļāļ•ัāļ§āļ­āļĒ่āļēāļ‡āđ€āļŠ่āļ™ āļœāļĄāđ€āļŠื่āļ­āļ­āļĒ่āļēāļ‡āļˆāļĢิāļ‡āđƒāļˆāļ§่āļēāļ™āļēāļĒāļāļĢัāļāļĄāļ™āļ•āļĢี āļ„ุāļ“āļ­āļ ิāļŠิāļ—āļ˜ิ์ āđ€āļ‚้āļēāđƒāļāļĨ้āļัāļ™āđ€āļŦāļĨ่āļēāļ™ั้āļ™āđƒāļ™āđ€āļŠิāļ‡āļ„āļ§āļēāļĄāļ„ิāļ”āļĄāļēāļāļāļ§่āļēāđāļāļ™āļ™āļģāļˆāļģāļ™āļ§āļ™āļŦāļ™ึ่āļ‡āļ‚āļ­āļ‡āļ„ุāļ“ āļŦāļēāļāđ€āļ‚āļēāđ„āļĄ่āđ„āļ”้āđ€āļ›็āļ™āđ€āļŠ่āļ™āļ™ั้āļ™ āļ–้āļēāđ€āļ‚āļēāļĄีāļāļĢāļ­āļšāļ„āļ§āļēāļĄāļ„ิāļ”āđ€āļŦāļĄืāļ­āļ™āļœู้āļ™āļģāđ€āļœāļ”็āļˆāļāļēāļĢāļ—āļŦāļēāļĢāļŦāļĨāļēāļĒāļ„āļ™āļ—ี่āđ€āļ„āļĒāļĄีāļĄāļēāđƒāļ™āļ­āļ”ีāļ• āļ‹āļēāļāļĻāļžāļˆāļēāļāđ€āļŦāļ•ุāđ€āļĄื่āļ­āļŠāļ­āļ‡āļŠāļēāļĄāļ§ัāļ™āļ่āļ­āļ™āļ„āļ‡āļĄāļēāļāļĄāļēāļĒāđ€āļิāļ™āļāļ§่āļēāļˆāļ°āļ—āļģāđƒāļˆāđ„āļ”้
āļœāļĄāļĒัāļ‡āđ€āļŠื่āļ­āļ§่āļēāļœู้āļ™āļģāļŦāļĨāļēāļĒ āđ† āļ„āļ™āļ‚āļ­āļ‡āļ„ุāļ“ āļ­āļĒ่āļēāļ‡āļ„ุāļ“āļ§ีāļĢāļ° āļĄีāļ„āļ§āļēāļĄāļัāļ™āđāļĨāļ°āļ„āļ§āļēāļĄāļŦāļ§ัāļ‡āđ€āļŠ่āļ™āđ€āļ”ีāļĒāļ§āļัāļšāđ€āļŦāļĨ่āļēāļ„āļ™āļ—ี่āđ„āļĄ่āļĄีāļŠ่āļ§āļ™āđ€āļี่āļĒāļ§āļ‚้āļ­āļ‡āļัāļšāļāļēāļĢāđ€āļ„āļĨื่āļ­āļ™āđ„āļŦāļ§āļ‚āļ­āļ‡āļ„ุāļ“ āđ€āļžāļĢāļēāļ°āļ—ี่āļŠุāļ”āđāļĨ้āļ§āļĄัāļ™āđ€āļ›็āļ™āļัāļ™āđāļĨāļ°āļŦāļ§ัāļ‡āļ‚āļ­āļ‡āļ„āļ™āđ„āļ—āļĒāļ—ุāļāļ„āļ™ āļ—ี่āļˆāļ°āđ„āļ”้āļ­āļĒู่āļ­āļĒ่āļēāļ‡āļŠัāļ™āļ•ิ āđ„āļĄ่āļ•้āļ­āļ‡āđƒāļŠ้āļŠีāļ§ิāļ•āļ”ิ้āļ™āļĢāļ™āđ€āļ­āļēāļ•ัāļ§āļĢāļ­āļ”āļ­āļĒ่āļēāļ‡āđ„āļĢ้āļˆุāļ”āļŦāļĄāļēāļĒ āđ„āļ”้āļĄีāđ‚āļ­āļāļēāļŠāđ€āļŦāļĄืāļ­āļ™āļ„āļ™āļ­ื่āļ™āļ—ี่āļˆāļ°āļšāļĢāļĢāļĨุāļ„āļ§āļēāļĄāļัāļ™āļ—ี่āļ•ั้āļ‡āđƒāļˆāđ€āļ­āļēāđ„āļ§้āđāļĨāļ°āļˆāļ°āđ„āļ”้āļĄีāļŠีāļ§ิāļ•āļ—ี่āļŠāļĄāļšูāļĢāļ“์
āļ­āļēāļˆāđ€āļĢ็āļ§āđ€āļิāļ™āđ„āļ›āļ—ี่āļˆāļ°āļŦāļ§ัāļ‡āđ€āļŠ่āļ™āļ™ี้ āđ€āļžāļĢāļēāļ°āļ„āļ§āļēāļĄāđ‚āļāļĢāļ˜āđāļ„้āļ™āđāļĨāļ°āđ„āļĄ่āđ„āļ§้āđƒāļˆāļ‚āļ­āļ‡āļ—ั้āļ‡āļŠāļ­āļ‡āļ่āļēāļĒāļĒัāļ‡āļĄีāļĄāļēāļāđ€āļิāļ™āđ„āļ› āļ–้āļēāļ„ุāļ“āļ§ีāļĢāļ°āđ„āļ”้āļĢัāļšāļāļēāļĢāļžิāļžāļēāļāļĐāļēāļ§่āļēāļāļĢāļ°āļ—āļģāļœิāļ”āļˆāļĢิāļ‡ āļ็āļ•้āļ­āļ‡āđ„āļ”้āļĢัāļšāđ‚āļ—āļĐāļ•āļēāļĄāļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļĒุāļ•ิāļ˜āļĢāļĢāļĄ  āđ€āļŠ่āļ™āđ€āļ”ีāļĒāļ§āļัāļšāļ„ุāļ“āļŠุāđ€āļ—āļž āļŦāļēāļāļžāļšāļ§่āļēāđ€āļ‚āļēāđƒāļŠ้āļ­āļģāļ™āļēāļˆāļŦāļ™้āļēāļ—ี่āđ‚āļ”āļĒāļĄิāļŠāļ­āļšāļ็āļ•้āļ­āļ‡āļ–ูāļāļ•ัāļ”āļŠิāļ™āļĨāļ‡āđ‚āļ—āļĐāđ€āļŠ่āļ™āđ€āļ”ีāļĒāļ§āļัāļ™ āđāļ•่āļ„āļ‡āļ‡āļ”āļ‡āļēāļĄāļĒิ่āļ‡āļŦāļēāļāđ„āļ”้āđ€āļŦ็āļ™āļ™ัāļāļ­ุāļ”āļĄāļ„āļ•ิāļ­āļĒ่āļēāļ‡āļ„ุāļ“āļ§ีāļĢāļ°āđ„āļ”้āļĄีāļšāļ—āļšāļēāļ—āđƒāļ™āļĢัāļāļšāļēāļĨāļ‚āļ­āļ‡āļ„ุāļ“āļ­āļ ิāļŠิāļ—āļ˜ิ์āļŠัāļāļŠุāļ” āļāļēāļĢāļ›āļĢāļ°āļ™ีāļ›āļĢāļ°āļ™āļ­āļĄāđ€āļŠ่āļ™āļ™ี้āđ€āļ„āļĒāđ€āļิāļ”āļ‚ึ้āļ™āđƒāļ™āļ­ิāļ•āļēāļĨีāđ€āļĄื่āļ­āļŦāļĨāļēāļĒāļŠิāļšāļ›ีāļ่āļ­āļ™ āđāļĨāļ°āļĄัāļ™āļŠ่āļ§āļĒāđƒāļŦ้āļ›āļĢāļ°āđ€āļ—āļĻāļ™ั้āļ™āļž้āļ™āļˆāļēāļāļ›ัāļāļŦāļēāļ„āļ§āļēāļĄāļ‚ัāļ”āđāļĒ้āļ‡āļ āļēāļĒāđƒāļ™āļ—ี่āļ­āļēāļˆāļ™āļģāđ„āļ›āļŠู่āļŦāļēāļĒāļ™āļ°
āļ„ุāļ“āđ€āļ›āļĨี่āļĒāļ™āđ€āļĄืāļ­āļ‡āđ„āļ—āļĒāđ„āļ›āđāļĨ้āļ§āļŠั่āļ§āļ™ิāļĢัāļ™āļ”āļĢ์ āļ”้āļ§āļĒāļāļēāļĢāđ„āļ”้āļ„้āļ™āļžāļšāđāļĨāļ°āđāļŠāļ”āļ‡āđƒāļŦ้āļžี่āļ™้āļ­āļ‡āļ›āļĢāļ°āļŠāļēāļŠāļ™āļ‚āļ­āļ‡āļ„ุāļ“āđ€āļŦ็āļ™āļ§่āļēāļ„ุāļ“āļĄีāļŠิāļ—āļ˜ิ์āļ—ี่āļˆāļ°āļ„ิāļ” āļžูāļ” āđāļĨāļ°āļ—āļģ āļœāļĄāļ‚āļ­āļŠāļ™ัāļšāļŠāļ™ุāļ™āđƒāļŦ้āļ„ุāļ“āļ้āļēāļ§āļ•่āļ­āđ„āļ› āļ„ิāļ”āļ•่āļ­āđ„āļ› āđāļ•่āļ„ิāļ”āđ€āļžื่āļ­āļ•ัāļ§āļ„ุāļ“āđ€āļ­āļ‡ āļ­āļĒ่āļēāļ„ิāļ”āļŠิ่āļ‡āļ—ี่āļœู้āļ­ื่āļ™āļšāļ­āļāđƒāļŦ้āļ„ุāļ“āļ„ิāļ” āļžูāļ”āđƒāļ™āļŠิ่āļ‡āļ—ี่āļ„ุāļ“āļ„ิāļ” āđ„āļĄ่āđƒāļŠ่āļŠิ่āļ‡āļ—ี่āļœู้āļ­ื่āļ™āļšāļ­āļāđƒāļŦ้āļ„ุāļ“āļžูāļ” āđāļĨāļ°āļ—āļģāļ”้āļ§āļĒāļŠāļ•ิāđ€āļŠ่āļ™āđ€āļ”ีāļĒāļ§āļัāļšāļ”้āļ§āļĒāļŦัāļ§āđƒāļˆ āđ€āļžื่āļ­āļœāļĨāļ›āļĢāļ°āđ‚āļĒāļŠāļ™์āļ‚āļ­āļ‡āļ—ุāļāļ„āļ™ āđāļĄ้āđāļ•่āļ„āļ™āļ‹ึ่āļ‡āļĄีāļ„āļ§āļēāļĄāđ€āļŦ็āļ™āđ„āļĄ่āļ•āļĢāļ‡āļัāļšāļ„ุāļ“
āđƒāļ™āđ€āļ§āļĨāļēāļ™ี้ āļ„āļ‡āļĄีāļ„āļ™āđ„āļĄ่āđ€āļ—่āļēāđ„āļĢāđƒāļ™āļāļĢุāļ‡āđ€āļ—āļžāļŊāļ—ี่āļˆāļ°āļ™ึāļāļ‚āļ­āļšāļ„ุāļ“āđƒāļ™āļŠิ่āļ‡āļ—ี่āļ„ุāļ“āļ—āļģ āđāļ•่āļœāļĄāļ­āļĒāļēāļāļˆāļ°āļ‚āļ­āļšāļ„ุāļ“āļˆāļĢิāļ‡āđ† āļŠิ่āļ‡āļ—ี่āļ„ุāļ“āļ—āļģāļĨāļ‡āđ„āļ›āļ™ั้āļ™āļŠāļģāļ„ัāļāļĄāļēāļ āđāļĄ้āļ­āļēāļˆāđ„āļĄ่āđƒāļŠ่āđ€āļžāļĢāļēāļ°āđ€āļŦāļ•ุāļœāļĨāļ—ี่āļ„ุāļ“āļ„ิāļ” āđāļĨāļ°āļœāļĄāļ็āļ­āļĒāļēāļāļ­āļ˜ิāļšāļēāļĒāļ§่āļēāļ—āļģāđ„āļĄ
āđ€āļ§āļĨāļēāļ„ุāļ“āļ•ัāļ”āļ–āļ™āļ™ āļšāļēāļ‡āļ„āļĢั้āļ‡āļ„ุāļ“āļ­āļēāļˆāđ„āļ›āđ€āļˆāļ­āļ ูāđ€āļ‚āļē āđ€āļžื่āļ­āļˆāļ°āđƒāļŦ้āļœ่āļēāļ™āđ„āļ›āđ„āļ”้ āļ„ุāļ“āļ­āļēāļˆāļ•้āļ­āļ‡āļŦāļēāļ—āļēāļ‡āļ­้āļ­āļĄāļĄัāļ™āđ„āļ› āļ„ุāļ“āļ­āļēāļˆāļ•้āļ­āļ‡āļ‚ุāļ”āļ­ุāđ‚āļĄāļ‡āļ„์āļĨāļ­āļ”āļŦāļĢืāļ­āļĢāļ°āđ€āļšิāļ”āļ—āļģāļĨāļēāļĒāļ ูāđ€āļ‚āļēāļ—ั้āļ‡āļĨูāļāđ€āļŠีāļĒ
āđ€āļĄืāļ­āļ‡āđ„āļ—āļĒāđ„āļ”้āļĄāļēāļ–ึāļ‡āļ ูāđ€āļ‚āļēāļĨูāļāļ™ั้āļ™āđāļĨ้āļ§ āđ€āļ›็āļ™āđ€āļ§āļĨāļēāļ­āļĒ่āļēāļ‡āļ™้āļ­āļĒāļŠāļ­āļ‡āļ—āļĻāļ§āļĢāļĢāļĐāļ—ี่āđ„āļĄ่āļĄีāđƒāļ„āļĢāļĒāļ­āļĄāļ­้āļ­āļĄāļĄัāļ™āđ„āļ› āļ‚ุāļ”āļ­ุāđ‚āļĄāļ‡āļ„์āļŦāļĢืāļ­āļĢāļ°āđ€āļšิāļ”āļ ูāđ€āļ‚āļēāļ™ั่āļ™āđāļĄ้āđāļ•่āļ„āļ™āđ€āļ”ีāļĒāļ§ āđāļ•่āļ—ุāļāļ„āļ™āļ็āļĢู้āļ§่āļēāđ€āļĢāļēāļ•้āļ­āļ‡āļœ่āļēāļ™āļĄัāļ™āđ„āļ› āļ ูāđ€āļ‚āļēāļĄัāļ™āļ‚āļ§āļēāļ‡āļ—āļēāļ‡āđ€āļĢāļēāļ­āļĒู่ āļĢัāļāļšāļēāļĨāļšāļēāļ‡āļĢัāļāļšāļēāļĨāļ—ี่āļœ่āļēāļ™āļĄāļē āļ‚āđ‚āļĄāļĒāđ€āļ‡ิāļ™āļ‚āļ­āļ‡āļ„ุāļ“āđ„āļ› āļŠāļĢ้āļēāļ‡āļšāļ­āļĨāļĨูāļ™āļŠีāļ—āļ­āļ‡āļ‡āļ”āļ‡āļēāļĄāļ‚ึ้āļ™āļĄāļē āđ€āļžื่āļ­āļžāļēāļ„āļ™āļšāļēāļ‡āļāļĨุ่āļĄāļ‚้āļēāļĄāļ ูāđ€āļ‚āļēāđ„āļ› āđ‚āļ”āļĒāđ„āļĄ่āļŠāļ™āđƒāļˆāļ§่āļēāļ—ี่āđ€āļŦāļĨืāļ­āļˆāļ°āļ–ูāļāļ—ิ้āļ‡āđ„āļ§้āđ€āļĨāļĒ āļĢัāļāļšāļēāļĨāļ­ื่āļ™ āđ† āļ็āđ€āļ­āļēāđāļ•่āļžูāļ” āļžูāļ” āļžูāļ” āđāļ•่āļ ูāđ€āļ‚āļēāļ็āļĒัāļ‡āđ„āļĄ่āđ„āļ”้āđ„āļ›āđ„āļŦāļ™ āļ็āđāļ™่āļ­āļĒู่āđāļĨ้āļ§āļ§่āļēāļ„ุāļ“āļ•้āļ­āļ‡āļŦāļĄāļ”āļ„āļ§āļēāļĄāļ­āļ”āļ—āļ™

āļ„ุāļ“āđ„āļĄ่āđ„āļ”้āļĢāļ°āđ€āļšิāļ”āļ ูāđ€āļ‚āļēāļ™ั่āļ™āļ—ิ้āļ‡ āđāļ•่āđ‚āļĻāļāļ™āļēāļŽāļāļĢāļĢāļĄāļ—ี่āđ€āļิāļ”āļ‚ึ้āļ™āļ™ั้āļ™āļˆāļ°āļ—āļģāđƒāļŦ้āļ—ุāļāļ„āļ™āļ—āļĢāļēāļšāļ§่āļē āđ„āļ”้āđ€āļ§āļĨāļēāđāļĨ้āļ§āļ—ี่āđ€āļĢāļēāļˆāļ°āļ•้āļ­āļ‡āļ้āļēāļ§āđ„āļ›āļ‚้āļēāļ‡āļŦāļ™้āļē āļ„āļ™āļ‚āļ­āļ‡āļ„ุāļ“āđāļĨāļ°āđ€āļŦāļĨ่āļēāļ—āļŦāļēāļĢ āļ•่āļēāļ‡āđ„āļĄ่āđ„āļ”้āļ—āļ™āļ—ุāļāļ‚์āđāļĨāļ°āļ•āļēāļĒāđ€āļ›āļĨ่āļē āđāļĄ้āļ”ูāđ€āļŦāļĄืāļ­āļ™āļ§่āļēāđ€āļĢāļēāļāļģāļĨัāļ‡āļ­āļĒู่āļ—่āļēāļĄāļāļĨāļēāļ‡āļ„āļ§āļēāļĄāļĄืāļ”āđāļĨāļ°āļ„āļ§āļēāļĄāļ§ุ่āļ™āļ§āļēāļĒ āļ§ัāļ™āļ™ี้āđ€āļĢāļēāđ„āļ”้āđ€āļ‚้āļēāđƒāļāļĨ้āļ›āļĢāļ°āļŠāļēāļ˜ิāļ›āđ„āļ•āļĒāļ—ี่āđ€āļ•็āļĄāđƒāļšāļāļ§่āļēāļ„āļĢั้āļ‡āđ„āļŦāļ™ āđ† āđƒāļ™āļĒุāļ„āļ‚āļ­āļ‡āļĢัāļāļšāļēāļĨāļ—ัāļāļĐิāļ“āđāļĨāļ°āļĢัāļāļšāļēāļĨāļ•่āļ­ āđ† āļĄāļē āļŠัāļāļ§ัāļ™āļŦāļ™ึ่āļ‡āļœู้āļ„āļ™āļˆāļ°āļ•āļĢāļ°āļŦāļ™ัāļāļ§่āļēāļ„ุāļ“āđ„āļ”้āđ€āļ›ิāļ”āļ•āļēāļžāļ§āļāđ€āļ‚āļē āļ§่āļēāļžāļ§āļāļ„ุāļ“āļĄีāļŠ่āļ§āļ™āļ­āļĒ่āļēāļ‡āļĒิ่āļ‡āđƒāļ™āļāļēāļĢāļĢ่āļ§āļĄāļŠāļĢ้āļēāļ‡āļˆุāļ”āđ€āļ›āļĨี่āļĒāļ™āļ‚āļ­āļ‡āļ›āļĢāļ°āļ§ัāļ•ิāļĻāļēāļŠāļ•āļĢ์āđ„āļ—āļĒ āļŠุāļ”āļ—้āļēāļĒāđāļĨ้āļ§āļ„āļ™āļ­ื่āļ™ āđ† āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļ็āļˆāļ°āđ€āļ‚้āļēāđƒāļˆāđāļĨāļ°āļĒāļ­āļĄāļĢัāļšāļĄัāļ™ āļŦāļĢืāļ­āļāļĢāļ°āļ—ั่āļ‡āļ­้āļēāđāļ‚āļ™āđ€āļžื่āļ­āđ‚āļ­āļšāļĢัāļšāļĄัāļ™āđ„āļ§้ āđ€āļžāļĢāļēāļ°āļāļēāļĢāđ‚āļ­āļšāļāļ­āļ”āļœู้āļ—ี่āđ€āļĢāļēāļ„ิāļ”āļ§่āļēāđ€āļ›็āļ™āļĻัāļ•āļĢูāļ™ั้āļ™ āđāļ—้āļˆāļĢิāļ‡āđāļĨ้āļ§āļ็āļ„ืāļ­āļāļēāļĢāđ‚āļ­āļšāļĢัāļšāļ•ัāļ§āļ•āļ™āļ‚āļ­āļ‡āđ€āļĢāļēāđ€āļ­āļ‡


In Thai

I knew that if I said what I actually think, I would be attacked from both sides.  It's certainly interesting to be accused of being a flaming pinko and a vicious fascist in the same day, or to be characterized in tweets as being no better than Joseph Goebbels.  The fellow who said that by condoning "Abhisit's Massacre" I'm clearly a supporter of the holocaust, female genital mutilation, the Taliban throwing acid in schoolgirls' faces, and apartheid is clearly unfamiliar with the things I have worked for all my life.

The level of vituperation has been equalled only by the failure to actually read the letter before launching the attack.  And I'm also appalled by the stereotypical characterization by people who don't know me, talking about by wealth (I had to borrow money this week to pay the electricity bill to keep my computer on), my Porsche (I don't even own a car), and so on.   I may have been born into privilege, but my choice of career has obliterated most of the advantages of that.

One criticism is unfortunately very true and I'm trying to fix it.  That is the fact that my letter is in English.

I am working on getting the Thai version of my letter done.  It is absolutely true, and highly regrettable, that I am incapable of doing it myself.  My spoken Thai is quite adequate, but I never went to a Thai school and  I write Thai very, very slowly.  The best I can do is get someone else to translate it and then go through it to try to ensure that the real content is still there.   I'm sorry about this, but I'm trying to get it done as soon as I can.