Back to the soil

The Simpsons, Woody Guthrie, Gone with the Wind and Neil Young – and what they tell us about America's obsession with its land.

The novelist John Cheever once wrote of a “sense of sanctuary that is the essence of love”. When George H W Bush spoke out against The Simpsons during his 1992 re-election campaign, pledging to make the American family “more like the Waltons”, it was perhaps this sense of sanctuary that he was gesturing towards. The 41st president's ideal family inhabited a uniquely American, mythical landscape in which good was unambiguous and true evil unknown; theirs was a mountain community sustained in spirit by the knowledge of its own rightness.

The Simpsons, on the other hand, offers irreverence and parody in place of earnestness – Matt Groening's comedy caters for a sensibility that takes for granted the bogusness of the old-fashioned, folksy fantasy of home and derives much of its humour from its subversion. In one episode, Homer decides to uproot his family to a dilapidated farm to escape a duel. Far from bemoaning his fate, he sees the return to the land as a “big chance”, an opportunity for self-definition: "The Simpsons will be reborn as a bunch of gap-toothed bumpkins!" His son, Bart, declares that he will "dig an outhouse"; his daughter Lisa offers to "weed the floor"; his wife, Marge, meanwhile, mutters: "I'll repress the rage I'm feeling." 

Where the Waltons lived more or less contentedly at the foot of a mountain in Virginia, accepting the hardships that came their way almost as a test of their national values (the Great Depression? a cinch), The Simpsons can only satirise the middle-American dream of a home close to the soil. The kind of "rage" Marge feels at the unfairness of her situation is something that cultural conservatives work hard to keep at bay – your pain is God’s way of reminding you of your American pluck, they seem to suggest, as they battle health-care programmes and redistributive taxes.

The Marge joke is funny because it has the ring of truth to it: it's a struggle when you're living in what amounts to a dump; it’s a struggle when you're broke and you're close to powerless to change the situation. Homer's fantasy of the family's rebirth – which echoes dimly the experience of the nation's first European settlers – can be sustained only so long as that all-too-reasonable anger at miserable circumstances is swallowed down (maybe with a few cans of Duff beer). 

After the gold rush

So what’s with the US and its romanticisation of living by the land? Perhaps there’s something in the ground itself. In Margaret Mitchell’s 1936 novel Gone with the Wind, the Irish expat and Southern landowner Gerald O’Hara lectures his daughter, Scarlett: “Land is the only thing in the world that amounts to anything . . . ’Tis the only thing worth working for, worth fighting for – worth dying for.” The folksinger Woody Guthrie had a more sceptical view on property ownership; in “This Land Is Your Land”, widely regarded as an alternative national anthem, he insists: “This land was made for you and me.” We should be willing to work, fight and die for it all, from the “golden valley” to the “endless highway” – not just the bits on your lease. 

Farmers till it, soldiers march across it and spill blood on it, landowners build on it. Miners crawl into it, blast it with explosives, sift through it for what they can use. When Johnny Cash died in 2003, Bob Dylan described the country singer’s voice in “I Walk the Line” as sounding like it came “from the middle of the earth”: “Truly he is what the land and country is all about,” he wrote. A century or so earlier, others heard another voice from the middle of the earth – that of gold.

Neil Young is a Canadian but, like his fellow countryman Robbie Robertson of the Band, he has long been regarded as one of America’s most perceptive chroniclers in pop music. He explores the territory once again with his latest album, Americana – a collection of US folk songs from Guthrie’s “This Land Is Your Land” to the traditional “Tom Dula”. Here he turns the campfire sing-along “Clementine” into a pounding, menacing rocker that brings back to the fore the death and horror contained within the lyrics. The song is about the “forty-niners”, the first wave of migrants to descend upon California during the gold rush of 1849. Clementine, a miner’s daughter, slips and falls into a river; her “ruby lips” blow bubbles on the surface but she drowns in “foaming brine” as her lover looks on helplessly. It’s an angry song and the video shows us grainy archive footage of labourers, who're probably struggling to get by.

Young takes us to the sanctuary of a song that many of us sang in childhood and shows us it wasn’t really a sanctuary after all. The lyrics are the same as they always were but the comforting affectlessness of the school-choir version is gone. I wondered how I’d not noticed the sadness of the words. There’s no glamour here, no certainty of right and wrong. Life is unfair – Clementine dies as a result of a trivial accident (her foot snags against a branch and she trips). We may be willing to fight and die for land – but what if that same land is what we're fighting against and what causes our loved ones to die?* 

 
*When Henry David Thoreau went into the woods of Massachusetts in the mid-19th century to write Walden, his stay was intended, in part, as an affront to passivity and resignation. Though eager to “suck out all the marrow of life” in all its sublimity, he was open to the possibility that nature was “mean”.
 
Yo Zushi's most recent album of songs, "Notes for 'Holy Larceny'", was released by Pointy Records (£9.99). His new song "Careless Love" can be downloaded for free here.
This land is your land: Neil Young in Vancouver in 2010. Photograph: AFP/Getty Images

Yo Zushi is a sub-editor of the New Statesman. His work as a musician is released by Eidola Records.

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The World Cup you’ve never heard of, where the teams have no state

At the Conifa world cup – this year hosted by the Autonomous Republic of Abkhazia – ethnic groups, diaspora communities and disputed territories will battle for footballing glory.

Football's European Championship and the Olympics are set to dominate the back pages over the next few months. How will Team GB fare in Rio? Will the zika virus stop the tournament even going ahead? Will the WAGS prove to be a distraction for the Three Lions? And can Roy Hodgson guide England to a long-awaited trophy?

But before the sprinters are in their blocks or a ball has been kicked, there's a world cup taking place.

Only this world cup is, well, a bit different. There's no Brazil, no damaged metatarsals to speak of, and no Germany to break hearts in a penalty shootout.  There’s been no sign of football’s rotten underbelly rearing its head at this world cup either. No murmurs of the ugly corruption which has plagued Fifa in recent years. Nor any suggestion that handbags have been exchanged for hosting rights.

This biennial, unsung world cup is not being overseen by Fifa however, but rather by Conifa (Confederation of Independent Football Associations), the governing body for those nations discredited by Fifa. Among its member nations are ethnic groups, diaspora communities or disputed territories with varying degrees of autonomy. Due to their contested status, many of the nations are unable to gain recognition from Fifa. As a consequence they cannot compete in tournaments sanctioned by the best-known footballing governing body, and that’s where Conifa provides a raison d’être.

“We give a voice to the unheard”, says Conifa’s General Secretary, Sascha Düerkop, whose world cup kicks off in the Autonomous Republic of Abkhazia at the end of this week.

“We are proud to give our members a forum where they can put themselves on the map.

“From that we hope to give back in the long run and invest in the football infrastructure in our member nations to help them grow.”

The two week footballing celebration starts with an opening ceremony before Kurdistan and Székely Land kick off the tournament. It follows on from 2014’s maiden competition which saw The County of Nice avenging a group stage defeat to Ellan Vannin from the Isle of Man, to take the spoils in the final via a penalty shoot-out.  There were some blowout scores of note however, with South Ossetia smashing Darfur 20-0 and Kurdistan beating the Tamils 9-0 at the event which took place in Östersund, Sweden. Neither of the finalists will be returning to the tournament – throwing down the gauntlet to another twelve teams. 

This, the second Conifa world cup, is testament to the ever-expanding global footprint of the tournament. Abkhazia will welcome sides from four continents – including Western Armenia, the Chagos Islands, United Koreans in Japan and Somaliland.

Despite the “minor” status of the countries taking part, a smattering of professional talent lends credibility to the event. Panjab can call on the experience of ex-Accrington Stanley man Rikki Bains at the heart of their defence, and the coaching savoir-faire of former Tranmere star Reuben Hazell from the dugout. Morten Gamst Pedersen, who turned out for Blackburn Rovers over 300 times and was once a Norwegian international, will lead the Sapmi people. The hosts complete the list of teams to aiming to get their hands on silverware along with Padania, Northern Cyprus, and Raetia.

A quick glance down said list, and it’s hard to ignore the fact that most of the nations competing have strong political associations – be that through war, genocide, displacement or discrimination. The Chagos Islands is one such example. An archipelago in the Indian Ocean, Chagos’ indigenous population was uprooted by the British government in the 1960s to make way for one of the United States' most strategically important military bases – Diego Garcia.

Ever since, they've been campaigning for the right to return. Their side, based in Crawley, has crowdfunded the trip to the tournament. Yet most of its members have never stepped foot on the islands they call home, and which they will now represent. Kurdistan’s efforts to establish an independent state have been well-highlighted, even more so given the last few years of conflict in the Middle East. The hosts too, broke away from Georgia in the 1990s and depend on the financial clout of Russia to prop up their government.

Despite that, Düerkop insists that the event is one which focuses on action on the pitch rather than off it. 

“Many of the nations are politically interested, but we are non-political,” he says. 

“Some of our members are less well-known in the modern world. They have been forgotten, excluded from the global community or simply are ‘unpopular’ for their political positions.

“We are humanitarians and the sides play football to show their existence – nothing more, nothing less.”

The unknown and almost novel status of the tournament flatters to deceive as Conifa’s world cup boasts a broadcast deal, two large stadiums and a plush opening ceremony. Its aim in the long run, however, is to develop into a global competition, and one which is content to sit below Fifa.

“We are happy to be the second biggest football organisation,” admits Düerkop.

“In the future we hope to have women’s and youth tournaments as well as futsal and beach soccer.”

“Our aim is to advertise the beauty and uniqueness of each nation.”

“But the most important purpose is to give those nations that are not members of the global football community a home.”

George Weah, the first African winner of Fifa World Player of the Year award remarked how “football gives a suffering people joy”.

And after speaking to Düerkop there’s certainly a feeling that for those on the game’s periphery, Conifa’s world cup has an allure which offers a shared sense of belonging.

It certainly seems light years away from the glitz and glamour of WAGs and corruption scandals. And that's because it is.

But maybe in a small way, this little-known tournament might restore some of beauty lost by the once “beautiful game”.