This is the striking title of J. W. Psaila's seventh publication in Maltese and the first with his plays. No newcomer to this genre he includes in this book three plays whose titles declare their historical subjects - 1551, 1798 and 1921, two religious plays on the lives of Pope John II and the Curé d'Ars and an oratorio in honour of Our Lady.
Here I will limit myself to the play which gives the book its title. As several will have already guessed, the Democratic Cannibals are none other than the politicians, not individually though, Senatores boni viri, senatus..... This work is another confirmation of Psaila's unique vivid imagination which we have already appreciated in his two very different extravaganzas, Pranzu Statali and Il-Purgatorju 360o.
This play is not a wild attack on politicians and politics as we have experienced in Malta and Gozo for a century; and as the title itself leads one to believe. Here politicians do not lash at each other mercilessly; they use innuendos and poke honest fun at each other. However, the underlying critical comment is there all the time, and as unforgiving. I think one can best describe the play as serious and funny, but above all thought-provoking; a healthy mixture of satire, caricature, fantapolitik, and, of course, realpolitik.
The setting: in the year of Our Lord 2040, Gozo is enjoying, or let's say experiencing, a much-desired sort of regional autonomy, yet still very much part of the Maltese nation. Two parties, obviously rival and disagreeing "on practically everything", have managed to form a coalition; that is they are ready to govern practising the art of civilised compromise. One is led by a mature, orthodox male notary; the other by a young, ambitious female lawyer who chooses to be guided by "the current fad", rather than by principles. She is fast with her "avoidance strategies", dodging embarrassing questions, with answers spiced up with some clever humour. She is fun to listen to; and probably considers her rival an old fogey, but not the devil incarnate. Coalition calms the water. The two leaders differ strongly on a very current topic: she is for the bridge not the tunnel, he for neither; he wants "to widen the (Gozo) channel"; because he wants to underline the autonomy from the mother island.
The text is peppered with references to the current situation with many, not too veiled - sometimes with a not-too-innocent word casually thrown here and there - references to personalities, projects and events. This, together with the quick succession of short scenes, the several, differently characterized dramatis personae - ministers, MPs of different parties, campaign strategists, voters, non-voters, floaters, indifferent to politics, and a fanatic (interesting to know if any in the audience will identify themselves with him) - gives the play a good pace maintaining a live interest; this more than makes up for the little action.
Economy, environment, housing, cost of living, tourism, immigration, the media, bureaucracy, waste management, pollution, journalism... the works; no stone left unturned. Facebook too, and the Gozo-region flag promised in the lady's electoral programme. Last and perhaps least: the laying down of the first stone of the Gozo University. The lot woven into an interesting, variegated, colourful tapestry.
In the final two scenes we have, first a sort of apotheosis of the female leader, now Premier, following the resignation of the male rival; this scene ends as it had to end. Then, in the final scene, politicians from both sides sit round a table to set down the first steps in the reform of democracy, no less. This too ends as it had to end.
From the above one can easily gather what, in politics, is Psaila's stance. A few years back a reviewer of Pranzu Statali felt he had to inform his readers (I could not understand why he did so) that Psaila stood out as a person of a specific political hue; certainly not the reviewer's. Reading this play, this same reviewer might wish to revise that opinion; he was wrong, and even unfair.
This yet new side of Psaila's varied oeuvre and his confirmed panache should ensure for him a deserved niche in Malta's literary history.
Review by Joseph Agius