The magical world of Surrealist Leonora Carrington ( 6/4/17 -25/5/11)

 Have written  many times about the lives of the surrealists, one of their number the artist and writer Leonora Carrington died in Mexico on this day in 2011. She was 94, she led an eventful and productive life, from reluctant debutante in England to bohemian in 1930s Paris, from despair in a Spanish asylum to many decades of stable artistic productivity in Mexico City. Though she’s long been celebrated and honoured in Mexico, it’s only quite recently after her death that her reputation has grown on this side of the Atlantic. 

I love the work of Leonora Carrington. It is always strange, often unsettling and unfailingly magicaI, in terms of fame and renown, she’s not as well known as some of her male contemporaries, including her sometime partner Max Ernst, or Salvador Dali, but I believe she should be.
Born into an upper class, reactionary Lancashire family in 1917, she soon discovered the restrictive and mentally stifling penalties that go with the privileges of bourgeois existence. But conformity was not an option. When she was eight her Catholic parents sent her to the Holy Sepulchre convent in Chelmsford, where she refused to do any schoolwork.. Even  as a young girl, Carrington was a non-conformist.She was an individual, unwilling to conform to authoritative, unreasonable rules. Her free-spirit and candid quips resulted in expulsions from at least two schools  “anti-social tendencies and certain supernatural proclivities”. In Florence and Paris she revelled in the arts, but dodged her workload and school regime through running away. In the end, Carrington’s parents capitulated to their wilful debutante daughter when, in her teens, she announced her intention to study at Chelsea School of Art, and become a painter.Her life was to become an amazing journey of change and discovery.

Having seen the work of Max Ernst at a major surrealist exhibition in London, she met him at a dinner party. He was 46 and married for the second time but, almost immediately, they were captivated by one another and ran off together, to Cornwall and then to Paris, where he separated from his wife, and Carrington found herself at the heart of several charmed artistic circles variously including Picasso, Dalí, André Breton, Man Ray, Marcel Duchamp Joan Miró and others. Although she never considered herself a card-carrying surrealist, she embraced the spirit of the movement with theatrical zeal; for example, she reputedly turned up for a party wrapped in a sheet, which she strategically discarded to reveal that she was naked beneath it. She and Ernst were reportedly known to clip the hair of their house guests as they slept, then serve it to them mixed in their breakfast omelettes.  Surrealism has/had a very uneven relationship with women, and  this has been discussed by many scholars throughout the years.'' Andre Breton and many others involved in the movement regarded women to be useful as muses but not seen as artists in their own right. Leonora Carrington was embraced as a femme-enfant by the Surrealists because of her rebelliousness against her upper-class upbringing. However, Carrington did not just rebel against her family, she found ways in which she could rebel against the Surrealists and their limited perspective of women..Surrealism gave her a visual and literary vocabulary to express herself whilst not avoiding limitation.

Then war broke out, the Germans invaded, and in time Ernst was interned by the Vichy administration.for simply being German and then  by invading Nazis because his work was considered decadent and was locked up in an internment camp.. It was the beginning of a profoundly disturbing period for Carrington. She may already have suffered a nervous breakdown, hitched a lift with friends to Spain.

Portrait of Max Ernst

Carrington, understandably, was distraught. She stopped eating, and was in dangerously poor health when she was rescued by some friends, fleeing the Nazis, who drove her to Madrid. She wrote later: “I’d suffered so much when Max was taken away to the camp, I entered a catatonic state, and I was no longer suffering in an ordinary human dimension.”
On the journey to Spain she saw bodies hanging from trucks and corpses on the roads – at least she thought she did, though her traumatised mind wondered if they might actually be delusions. The Spanish authorities certainly thought so when she reported them, and threw her into an asylum in Santander. According to her 1944 memoir, Down Below, she suffered there, subjected to barbiturate and Cardiazol treatment, until her family in England got sufficiently worried about her to send a nanny  to rescue her and take her instead to a hospital in South Africa. In the finest traditions of Surrealist weirdness, Carrington escaped from her minders while they were waiting to board the boat, jumped into a cab and headed straight for the Mexican embassy, immediately entering into a marriage of convenience with a diplomat friend she’d known in Paris. Then they went back to wait for a boat to the USA, joined by a liberated Ernst, his new partner, his ex-wife, and his new partner’s ex-husband. Carrington and Ernst didn’t get back together – he married again, and after a few months Carrington dissolved her own marriage and moved, permanently this time, to Mexico City.

Leoonora Carrington and Max Ernst 

It’s an extraordinary tale of surrealism, love and madness and more, some have claimed that Carrington’s asylum memoir was more fiction than fact. (Interestingly, Amazon classes the book as fiction.) But Anne Hoff of  the University of Alabama wrote  a paper on Down Below in in 2009, concluding that Carrington’s barbaric experience could well have been entirely factual. Clinical descriptions of other people’s treatment with  Cardiazol, a powerful convulsive drug that was a forerunner of ECT, suggest her recollections of seizures, hyper-sexualised thoughts post-treatment and being left to lie in her own faeces (incontinence was a common side-effect) are depressingly accurate. She was also given Luminol, a powerful anti-convulsive. I can imagine it would have been an horrific ordeal that would have bound to leave a mark.In her paintings and writings, she generates a heady fantasy world. It draws on elements of folklore and fairytales, Celtic and other mythologies,  a lot of this gets mixed up  in her work plus elements from  occult mystical  traditions including alchemy. There’s a lot going on, I like them a lot, deep  dreamlike spaces of infinite possibility with a magical poetical quality. Like a magical alchemist she had the ability to smuggle cryptic messages or absurd spells  into her art enabling her to transform the viewers eye. Often there are Gothic undertones, maybe recalling the Lancashire mansion where she  grew up in and longed to escape, she was a rebel who was  twice expelled from school, and was instinctively opposed to her parents’ social aspirations.

The fantasy in her work is sometimes disturbing with a violent, edge. It draws from her own disturbed  personal experience and emotional life, her own and of course many others, in a way that links her to such artists as Louise Bouergois , Paula Rego and Frida Kahlo. In line with the male surrealists’ view of the role of women, she was often assigned the subservient role of muse to Ernst, implicitly diminishing her, even though she remarked that she was far too busy getting on with things to be a muse.

A big influence on her was  Robert Graves’s The White Goddess . Drawing on a range of European mythology, especially the Welsh and Irish traditions, Graves controversially proposed the presence of a consistent, if variously named and depicted, goddess. In doing so he was revealing an alternative, potentially feminist mythological and religious predecessor to familiar, patriarchal models.The White Goddess appears again and again in her work such as Then we saw the daughter of the minotaur (1953) is not to he a relic from a lost religion but to a living (dancing) entity in the present. Add to this influence Carrington’s memories of stories told to her by her mother and her cherished Irish nanny,  Mary Kavanagh and you can begin to see what she’s getting at in her pictures, even if nothing quite prepares us for their edgy strangeness.

                                Then we saw the daughter of the Minotaur

In her painting, 'The Giantess', the guardian of the egg, 1947, and painted for her patron, Edward James, possibly Carrington's most famous work, The Giantess, is dwarfing land and sea, ''drawing out the psychic prowess of the Goddess, her regenerative life-giving properties, and her fertile creative powers. This Goddess-centred spirituality, benevolent and nurturing, emanates from the giantess: the birds flock from her robes, and between her palms she clasps a mysterious black egg, perhaps the source of new life.''
Carrington said, ''The egg is the macrocosm and the microcosm, the dividing line between the Big and the Small which makes it impossible to see the whole.  To possess a telescope without its other essential half – the microscope – seems to me a symbol of the darkest incomprehension. The task of the right eye is to peer into the telescope while the left eye peers into the microscope.''

                                    
                                                       The Giantess , 1950 

Alongside her painting and sculpture she was also a prolific writer prolific writer with many articles, novels, essays, and poems to her name. Apart from the autobiographical Down Below, her most celebrated piece was a dream fairy-tale of 1974, The Hearing Trumpet. Her books are as utterly imaginative as her visual art.In The Hearing Trumpet ( a favourite book of mine), Carrington appears under the alias Marian Leatherby, who is 92 and has a beard. She has no teeth left and has become vegetarian  an elderly woman getting irritated by her patronising family, who think her senile. But the care home that she is carted off to is unlike any establishment of its kind. Marian discovers evidence of mysterious gatherings, disappearances, and hints of the supernatural. Ultimately, all this leads to a total reordering of the terrestrial order: a world "transformed by the snow and ice.” Marian anticipates the day when “the planet is peopled with cats, werewolves, bees, and goats. We all fervently hope that this will be an improvement on humanity. "I'll leave you to discover the pure magical joy of her writing for yourself, I strongly recommend her..Her other notable books were The House of Fear (1938), The Oval Lady (1939), The Stone Door (1976), Pigeon Flies (1986) and The Seventh Horse (1988). She also wrote the plays The Debutante (1937), A Flannel Night-Shirt (1951), Penelope (1957) and The Invention of the Mass (1969).
After her move to Mexico in 1943 a new chapter began. Free of her family and her besieged relationship with Ernst (he married Peggy Guggenheim to escape Europe), she immersed herself in the art world of Mexico City. Steeped in Surrealist ideas and mysticism, she joined a close group of artists and enjoyed much creative experimentation.. Here in Mexico there was Aztec and Mayan culture, Catholicism and Spanish colonialism all mixed together in a vast, steaming cauldron of exotic images. Snakes, saints, candles, life and death, dark and light. Vast brooding volcanoes, huge pyramids, mythical dragons. The young artist from England had found her ‘milieu’. In her novels and her art, Leonora combined her favoured symbols of  folklore with Mexican motifs. El Mundo mágico de los Mayas, 1963-4, was a commission for a new museum, in an area dedicated to the state of Chiapas. She visited the region, attended healing ceremonies in order to get to know the people. Carrington was accepted as someone who spoke for Mexican history as well as engaged with its culture, history and art.  She attempted to study the preconquest outlook of the Chiapas Indians, and in her finished painting shows the way cultures were mixed in the area. The painting is a fairytale of old and new, historical and imagined. Figures walk between Catholic processions and indigenous healings. Mystical animals swirl around a landscape that seems a living creature itself, while her favourite motif, the Irish white horse, sits amidst a carnival of human activity.

                                From El Mundo de Magica Mundos

                                   Who art , though  white face 
 
The student demonstrations of 1968 revealed a further facet of Carrington's personality, her political militancy.In 1969 she continued to make her views heard in a series of public appearances. In particular she championed the newly established women's movement: in the early 1970s she was responsible for co-founding the Women's Liberation Movement in Mexico; she frequently spoke about women's "legendary powers" and the need for women to take back "the rights that belonged to them". Take this wonderful quote from her " it is impossible to understand how millions and millions of people all obey a sickly collection of gentlemen that call themmselves ' Government'! The word I expect frightens people. It is a form of planetary hypnosis and very unhealthy" from 'The Hearing Trumpet'
The  rest of Leonora’s life remained blissfully quiet and stable. Having only married for convenience, Leonora and Leduc split. She met Hungarian photographer, Chiki Weisz and had two boys, Gabriel and Pablo. She planted a tree in her front yard, taped pictures of Queen Elizabeth and Princess Diana on her kitchen cabinets, drank PG tea in the afternoons and tequila at night. She continued to paint and write, building a sizeable repertoire of fantastical surrealist works depicting mythical, made-up creatures representing themes of identity and transformation. She had once again constructed her own lovely little universe where she was bound by no one, free to be and create as she wished. So finally  Leonora Carrington died on this day at the age of 94, after what was a remarkable life. Described as “the last great living surrealist” by the Mexican poet and activist, Homero Aridjis. Her legacy a mighty fine one that was later carried by other female artists, with their own sense of liberation, Frida Kahlo included, who fought for the rightful place of women in arts and in everyday life.

    

                                         Leonora Carrington - self-portrait , 1937

Waiting for Chilcot's judgement to call

The delays in the Chilcot inquiry have for a while moved into farcial terrain, the establishment clearly terrified of any further damaging revelations that will reopen discussions about the tragedy of Irag.Who knows Tony Blair could  face charges over his role in sending British soldiers to the tragedy that was Iraq. A cross-party group of MPs want him prosecuted if the Chilcot report shows he lied to get support. In the meantime I offer you this poem.

Waiting for Chilcot's judgement to call

Sixteen years and still waiting,

The rot and the lies have gone on to long,
Truth twisted and buried at every turn,
We have known for so long who was to blame,
Darkness revealed in sanctimonious smiles,
Tony Blair's conscience flashing in deceit,
Hopefully now he will pay the political price,
When all his excuses are finally discredited,
No mere apology will be enough,
He should be made to pay for his crimes,
That went against international law,
As the silence and agony are abandoned,
The dead unable to testify, finally get justice.

Ken Loach wins Cannes Palm d''Or for his latest powerful film; I, Daniel Blake, about welfare struggle.

 

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He has championed the downtrodden and poor for 50 years, but now Bath film director Ken Loach has returned to make a modern-day version of his breakthrough film Cathy Come Home – a film about the poverty and humiliation inflicted upon them by the welfare state, which left much of the Cannes Film Festival in tears and won him the coveted  Cannes Palm d'Or Prize last night  in an awards ceremony in southern France.
Cathy Come Home shocked a blissfully-unknowing British society of 1966 to the descent of a wife from a normal family home to living on the streets and having her children taken away – all because her husband is injured at work and loses his job.
And now, 50 years on, the 79 year old Bath film director has returned and created something of a remake – but this time exposing the plight of a man left to the uncaring ravages of the benefits system, which looks set to generate the same shock from audiences across Britain.
. Accepting the festival's top prize, Loach attacked the "dangerous project of austerity,".At times of despair the far right take advantage,” the  film-maker said. “And some of us who are old remember what that was like. So we must give a message  of hope, we must say another world is possible," he said."The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we call neo-liberalism that have brought us to near catastrophe."
The powerful film  tells the story of  fifty-nine year old British carpenter Daniel Blake's Kafkaesque  journey to get benefits in Britain for the first time in his life after suffering a heart attack and being told by doctors he can no longer work.Turning to the welfare state for assistance, he is confronted with the tragic realities of a modern society bogged down by miles of cold and unfeeling red tape.
Daniel, is just a generous hard-working individual who has simply fallen on hard times,who  embodies the very reason social safety nets are created, yet the system engineered ostensibly to give a much-needed break to such decent men seems more intent on pounding its supposed beneficiaries into submission.This might be a piece of art, but this is a familiar tale to all those trapped in the benefit system , and caught in the barbed wire of bureacracy in Tory Britain.
Because Blake is denied illness benefit and is forced to apply for assistance for unemployment.
That in turn forces him to spend hours hunting for jobs which he has to turn down because he is too sick to work.The movie's writer Paul Laverty has said the research team was stunned at how people with mental health issues and disabilities were targeted by the welfare cuts.He said people interviewed within the Department for Work and Pensions told them "they were humiliated at how they were forced to treat the public. There is nothing accidental about it."
Exasperated at every turn by the almost laughable inefficiencies of a blindingly complicated network, Daniel is bounced from one broken program to the next. Whether they be for employment insurance or a job seeker’s allowance, there are always stupefying catches; ridiculous paperwork; and government employees who appear completely incapable of empathizing with the plight of the unfortunate waiting around the corner.
The actress who plays the young single mother, Katie -- Hayley Squires -- who Daniel's character befiends, recently slammed anti-welfare "propaganda" that she said has turned working class people against each other. "Normal people are led to believe that this amount of people are on benefits and are therefore scroungers, and this amount of people are going to work to pay so that they can scrounge." "They've left us to argue among ourselves so they can keep doing what they are doing."
For the Conservatives, the ideological destruction of peoples lives has always been their clear aim. For them austerity isn't a temporary economic measure, it's a permanent moral imperative. I look forward to the day, when we say enough is enough. In the meantime well done Ken for this award and for continuing to lend the poor and downtrodden a voice,telling real honest stories of lives ruined by a cruel system that  continues to unleash savage attacks on Britain's poor.I  hope that this film and its powerful indictment of life under Tory rule and the austerity myth and all it's savage impacts is seen by many and as the star of the film , stand up comic Dave Johns  recently tweeted, like Cathy Comes home, 50 years previously  "Let's hope it shames those that should be into change.".

Stjepan Filipović (27/1/13 -22/5/42) - " Death to fascism, freedom to the people ! "

(image: of Filipović with his arms in the air, moments before his death)

Today 22 May, 1942 - Stjepan Filipović, a Croatian Partisan during World War II, was hanged by the fascists. He is one of the heroes of anti-fascist struggle in Yugoslavia during World War 2.  He  had joined the workers movement  in 1937, becoming a member of  the Communist Worker’s Revolutionary Movement, and shortly thereafter was arrested for his political activity. He was imprisoned for one year, and upon his release was forced to leave Kragujevac. Soon after the German invasion of Yugoslavia in April 1941, Filipovic returned to Kragujevac and volunteered for active duty in the partisan struggle against the occupiers. He was posted to Valjevo where he was given responsibility for the organizing of arms and the gathering of new supporters to the cause. He rose quickly in the ranks of the partisan resistance and eventually became commander of his own battalion, the Tomnasko-Kolubarski detachment.
On February 24 1942 he was captured by Axis forces and given to the Germans, tortured in Loznica, then in Sabac. Before being taken to solitary confinement, he said "Comrades, hope for nothing. Be brave when they shoot you. Don't show them that our death is their victory."
As his executioners  put a rope around his neck, Filipović defiantly thrust his hands out and denounced the Germans and their Axis allies as murderers, shouting "Death to fascism, freedom to the people!" He urged the Yugoslav people to resist and implored them to never cease resisting.
He was declared a national hero of Yugoslavia in 1949. 

The picture of him raising his arms in resistance  just  before being hanged became ironic in post-war Yuhoslavia and became a symbol in the fight against fascism.In the city where Filipovic died, which is in present-day Serbia, there was a monumental statue  in his honor replicating that Y-shaped pose — an artistically classic look posed between death and victory.
Since the break up of Yugslavia he has been claimed by all sides - Valjevo monument -it's in Serbia remember -calls him Stevan Filipovic, which is the Serbian variant of his given name. But as Serbia is the heir to Yugoslavia he at least remains there  as a legitimate subject for a public memorial.
But has been targeted by fascist resentment since 1961 when it was  first erected, torn down in 1991, it's plinth sadly since then  desecrated by fascist scrawls .Reconstruction is  currently being planned by the Croatian Ministry of Culture.
With nationalism and intolerance creeping back into Croatian life it would be a shame that the memory of this anti-fascist hero was destroyed forever.We should continue to stand against the dark  forces of fascism, forces ever so real that will crop up in time of crisis and turmoil that must always be beaten back before these vile ideas take root.

The Tale of Elen of the Ways

                                              
                                                 St Helen of Caenarfon


The Roman road, Sarn Elen is named after Saint Elen ( angliscised to Helen)  whose feast day is celebrated today which connects her to Spring. Saint Elen  was a late  4th century founder of churches here in Wales. Her influence on  present day Wales still evident  by the existing roads  that bear her name,  ancient Roman roads throughout the British Isles – that we can all still walk along. Roman roads in Britain are often called Sarn Elen, but it is possible that the original Elen’s causeways belong to a much earlier period. Evidence of earlier paving is found under some of the roads, but the straightness of the Roman roads must sure have impressed the locals. The Celts associated straight paths with magic and the Otherworld, the paths that fairies took from one mound to another, the straight path of a magical spell, and the spirit flight of the shaman. It is significant that Elen is first beheld in a dream, then goes on to build a network of magical roads across Britain. Some associate these with ley lines, the ancient trackways that are said to join together ancient sites, such as tumuli, burial mounds, hillforts, stone circles and so on. It is possible that Elen is the guardian of these, or perhaps she is the guardian of the paths of dreams and visions.
She was the patron Saint of travel long before St. Christopher. On present day survey maps Sarn Elen is clearly posted. it is said that Elen is responsible for the building of  these roads which in an ancient Britain connected strongholds. Some of these roads are associated with ley (energy) lines.The Welsh revered Elen as Elen of the Roads who at Beltane (1st May) opened the season of travel.She is certainly a pre-Roman goddess, and possibly much older than the Celts. The first trackways across Britain are said to have been reindeer tracks; Elain is Welsh for deer, and it is possible that Elen is one of the horned goddesses portrayed in Celtic art, such as the two figures found at Lackford and Icklighmam.
Elen's story is told in The Dream of Macsen Wledig, one of the tales associated with the Mabinogion.Welsh mythology remembers her as the daughter of a chieftain of north Wales named Eudaf or Eudwy, who probably lived somewhere near the Roman base of Segontium now Caernarfon  in North Wales. and as the the wife of Macsen Wledig ( Magnus Maximus), the 4th-century  emperor  in Britain, Gaul and Spain who was killed in battle in 388 AD. 
She is remembered for having Macsen build roads across her country so that the soldiers could more easily defend it from attackers, thus earning her the name Elen Luyddog (Elen of the Hosts).
The Mabinogion  collection is drawn from Medeival  writings, although it is accepted that  most  of the tales were probably transmitted orally for centuries previous to their writing down. Nevertheless by the  twelfth century, Britain had been Christian for a long time while it is clear that while some characters have been diminished, while once they were gods or otherworldly heroes, they appear in the tales as ordinary humans. Some believe that Saint Elen or Helen is such a diminished goddess, and her tale does give us a few snippets which tend to support this idea. There is her mysterious appearance  in Macsen's dream , and the curious, almost ritualistic  surroundings in which she first appears. She sits upon a magical seat that grows bigger when Macsen joins Elen upon it. There is the emphasis  on her beauty and magnificance, which could indicate an otherworldly appearance. 
And then there is this business with the roads, which has led many modern pagans to proclaim her as goddess of roads, ley lines, shamanic journeying, a guardian of all who journey etc. In addition some modern pagan writers, in a bid to increase  the amount of information  we have on Elen, are assuming that she is identical with other goddesses such as Brighid or that she is the forerunner of such goddesses.
Through the ages Elen and Helen's  lives have been combined. In myth and legend Elen is representative of the land of Britain itself, Elen of the Ways istherefore  a rich combination  of legend, myth, history and imagination..

Transcension

( A flight of fancy? Maybe )

Tomorrow and eternity are one,
Whatever the situation,
Destiny rules by circumstance,
The pendulum of the clock ticks,
It is our battle to prepare.

Between earth and sky
Crimson petals fall,
Whispering their silence
Fall among stones freely,
Leaving fragments of emptiness.

Leaf shadows dance on the horizon
Slowly, fluttering,almost unsure,
Cascading in a whirl of wind
Mingling with the rain,
Falling lightly on the ground.

Fluffy clouds above
Build temples in the sky,
An ever mindful distraction
Far away floating,
Beyond Earth's fury.

Alpha tries to
Give Omega rest,
To cry no more
To be numb, immune,
Pulled all along by forces strong
Carried on the mirrors of time.

We spoke among prisms of silence
And words melted into air,
Our spirits glided outwards
Onwards into the beginning,
Searching the Cosmos
Following guiding stars.


Absorbing new life forces
The mind shines on,
Crazy diamonds, riding rays of light
No turning back
The soul moves on.

Beaming and glittering
Over a thousand peaks,
Memories forever planted
To haunt dreams of ceaseless time,
To hold us gently in transcension.

No to Governments plan to scrap the Human Rights Act

I have written of this before, but as the government yesterday again confirmed plans to scrap the Human Rights Act in the Queens speech it is to important a subject not to come back to. We should not allow politicians to take away our universal privileges for the benefit  of a chosen few and repeal legislation that has been crucial to lifes of so many ordinary people.The state has every interest in preventing light from being shone into dark corners.
The Human Rights Act was created to protect us all as individuals from abuses by the state and state bodies, allows UK nationals access to rights contained in the European Convention of Human Rights (ECHR) which allows us over 2,000 protections, ensuring all authorities treat people with fairness , dignity and respect, but gradually piece by piece the Tory's are trying to take away our basic freedoms and rights and want to overturn  these recognised principles that  we should all be proud of, but yet again they are attempting to steal them away,which  says so much about their mindset incidentally. They want to replace it with their own Bill of Rights and Responsibilities.They would weaken the rights of everyone, meaning less protection against powerful interests. It would also limit human rights to only cases  the Government considers "most serious!" Threatening the very concept of the universality of human rights.
However many remain fervent in their support for this Act because of its positive contribution to society and the message that it serves globally that we have enshrined an international human rights convention into UK law. The Human Rights Act is ours, scrapping it will take away the rights of everyone, and it is the most vulnerable that will suffer the most.
A useful reminder of whether the Act needs to change, or should remain is to look at the list of rights protected by the Act and ask yourself ,"Which one would I give away? Which one would I not want for myself or for members of my family?"the right to life? the right not to be tortured? the right to a fair trial? http:/legislation.gov.uk/ukpga/1998/42/schedule/1  
Sometimes we can't appreciate the value of something until it is taken away.We have to stand up for the Act.
Please call on Justice Secretary Michael Gove to save the Human Rights Act

https://www.amnesty.org.uk/issues/Human-Rights-Act