Inspiration for Spring: People Who Changed the Way we See The World

There are many who would qualify as having changed the way we see the world,  but I could only pick four, both for my sanity and yours.  Before anyone gets in touch and says they’re all guys, next week I shall be writing about four ladies that changed the way we see the world.

***

Is there any more inspiring artist than Van Gogh  both in the intense suffering of his personal life and the transformative and (still) stunningly original nature of his art?.

In letters to his brother Theo (Penguin Classics, 1997), Vincent wrote:

“I don’t know myself how I paint it.”

VanGogh

Although Vincent was unable to describe his working methods,  from his substantial body of letters it is possible to follow the workings of his mind and stand in awe of his  powers of observation.   For example this description of a wood.

Behind those saplings, behind that brownish-red ground, is a sky of a very delicate blue-grey, warm, hardly blue at all sparkling.  And against it there is a hazy border of greenness and a network of saplings and yellowish leaves.  A few figures of wood gatherers are foraging about, dark masses of mysterious shadows.

In 1884 Van Gogh wrote to Theo after the latter had complained about the quality of some drawings Vincent had sent and told him his work needed to improve a great deal!

Vincent’s reply was:

“As far as saleability or unsaleability  is concerned, that’s a dead horse I don’t intend to go on flogging.”

One of the prime lessons  Van Gogh’s  life offers us is how to believe in yourself as an artist, when the rest of the world doesn’t.  I often wonder what would he and Theo make of the crowd control measures now necessary outside the Van Gogh Museum in Amerstdam?

***

Including poems inspired by the work of Vincent Van Gogh –  No Enemies,  No Hatred  is the title of  a collection of writings by  dissident and human rights activist Liu Xiaobo (1955-2017).

For the role he played in drafting and advocating the human rights manifesto called Charter 08 which called for democratic reform in China,   Liu Xiaobo was arrested and in December 2009 sentenced to 11 years in Jinzhou prison.

In 2010 he was awarded the Nobel Peace Prize much to the chagrin of the authorities in China who tried to prevent any celebration of this award.  Unable even to send a family member to Oslo,   Liu’s Nobel lecture speech was given in absentia and read by the actress Liv Ullman.   He died in July 2017.  Here is an extract from his speech:

“But I still want to say to this regime, which is depriving me of my freedom, that I stand by the convictions I expressed … twenty years ago – I have no enemies and no hatred.  None of the police who monitored, arrested and interrogated me, none of the prosecutors who indicted me and none of the judges who judged me are my enemies.  Although there is no way I can accept your monitoring, arrests, indictments and verdicts, I respect your professions and your integrity ….”

 

And on free speech:

“Free expression is the base of human rights, the root of human nature and the mother of truth. To kill free speech is to insult human rights, to stifle human nature and to suppress truth.” ~ Liu Xiaobo

***

Daisaku Ikeda is one of the world’s foremost living Buddhist philosophers, spiritual leader to millions across the globe who practise Nichiren Buddhism.  He is the recipient of numerous peace and humanitarian awards and author of more than sixty books.

Here he is on the power of reading.

Ikeda

“Reading is dialogue with oneself, it is self-reflection which cultivates profound humanity. Reading is therefore essential to our development.  It expands and enriches the personality like a seed that germinates after a long time and sends forth many blossom laden branches.

People who can say of a book “this changed my life” truly understand the meaning of happiness.  Reading that sparks inner revolution is desperately needed to escape drowning in the rapidly advancing information society,  Reading is more than intellectual  ornamentation, it is a battle for the establishment of the self, a ceaseless challenge that keeps us young and vigorous.”

(Middleway Press, 2006)

***

No post on inspiration can be complete without a poet.  But which poet to choose?  I have decided on Rainer Maria Rilke not because I can read him in the original which I can’t sadly, but because the soul tearing profundity of his ‘Letters to a Young Poet’ is the same in any language.

On Solitude:

And to speak again of solitude, it becomes increasingly clear that this is fundamentally not something we can choose or reject.  We are solitary.  We can delude ourselves about it, and pretend that it is not so.  That is all.  But how much better it is to realise that we are thus, to start directly from that very point.  Then to be sure, it will come about that we grow dizzy; for all the points upon which our eyes have been accustomed to rest will be taken away from us, there is no longer any nearness, and all distance is infinitely far.

Next week I shall be posting about four inspirational ladies who changed (or are changing)  the way we see the world.

 

 

 

5 Books of Solitude and Isolation

There is a difference between choosing solitude and being forced into isolation.   From the writer’s point of view at least.  But I think for the reader too.  I have struggled in the last week or so to turn to the books on my TBR pile.  My mind is searching for solace.

Before all the chaos started I had finally got into reading Hilary Mantel’s Cromwell trilogy.  But with the greatest respect to her genius, who the hell wants to read about 16th century plagues and beheadings at the moment!

History has left us littered with determined literary isolationists from Thoreau to Yeats, they perhaps were more easily able to arrange their lives to be free of any domestic responsibilities and never once had to go to Lidl or worry about standing six feet apart.

Now in our forced isolation we no longer have the luxury of popping home for Sunday lunch or nipping into town to get a packet of seeds for our nine bean rows.

Here are  five books that find solace in isolation.

***

Journal of a Solitude, May Sarton

I first came across this journal of American poet May Sarton about a decade ago and I still return to passages.  She could turn the simplest observation into a wonder.

solitude

“The autumn crocus is marvellous and the lavendar asters, blue flames among the fallen leaves. I picked crocus for the Venetian glass on the mantel in the cozy room, and a few late roses. Then I cooked supper. The puffball was a terrifying mustardy green and tasted rather bitter.”

Sarton said: The most valuable thing we can do for the psyche occasionally, is to let it rest, wander, live in the light of a changing room…

Of Virginia Woolf – inventor of A Room of One’s Own, the work that more than any forged an indelible link between peace and quiet and the writer’s art – Sarton says:

“Fragile she may have been, living on the edge of psychic disturbance, but think what she managed to do nonetheless – not only the novels (every one a breakthrough form) but all those essays and reviews, all the work of the Hogarth Press, the social life…two houses…”

***

My second choice is the wonderful Olivia Laing’s meditation on the art of being alone which I reviewed some time back.

The Lonely City: Adventures in the Art of Being Alone, Olivia Laing (Canongate)

lonely

“You can be lonely anywhere , but there is a particular flavor that comes from being lonely in a city”

The author writes:

“What does it feel like to be lonely?  It feels like being hungry: like being hungry when everyone around you is readying for a feast.”

Now here is something interesting.  At the moment no-one is feasting.  No matter where you might go on the planet (in your imagination of course) would it be possible to envisage any feast.   Misfortune is a great leveller in that respect.

Maybe it is harder to feel lonely and isolated indoors when everyone else is in the same boat.

***

Eleanor Oliphant is Completely Fine, Gail Honeyman

This story about a young woman trying to transform her life against all the odds is definitely an isolationist’s dream read.

When I originally reviewed this In April 2018 I wrote : ….

“This is a book to curl up with and if you are feeling a tiny bit sorry for yourself it will magic you better. Indeed you cannot help but compare yourself with Eleanor and feel better – unless your backstory is even worse than hers. In which case dear reader you are much to be pitied.”

Many people loved this book and I was one of them with its message that even the loneliest of us can be fixed if we can just find the will to get up and out the door and address our problems, preferably leaving the vodka bottle in the bin where it belongs.

***

For me one of the most perfectly formed literary ‘outsider’ characters is the protagonist of An Unnecessary Woman by Rabih Alameddine.

Beirut is a city which has survived numerous attacks and invasions, sometimes from within, sometimes from without.  As with most wars, to those trying to save their ordinary lives from damage and destruction, it hardly matters who the aggressor is.

Aaliya is an elderly woman living alone in an apartment in Beirut. She has lived there alone since her husband left, fighting off the impredations of various half-brothers, in-laws and her despised mother –  who would like to take the apartment away from her.

Aaliya’s life has been books.  She spent her working life in a bookshop and read her way through most of the stock and then some.   All the learning she has acquired has been by reading.  She has an intellectual life which manifests in translating great works of literature into Arabic, including Anna Karenina, and then carefully storing the results away from prying eyes.

Looking back over her war torn city and her life,  Aaliya often feels small and worthless.  She says:

“In order to live,  I have to blind myself to my infinitesimal dimensions in this infinite universe.”

From the reader’s perspective this lady is no more or less infinitesimal anybody else.  It does have an upbeat ending though.  The narrator thinks she is friendless and alone but finds in her hour of most need that people pop out of the woodwork.

***

Where the Crawdads Sing, Delia Owens (Corsair)

crawdads

 

“The Marsh was guarded by a torn shoreline, labelled by early explorers as the “Graveyard of the Atlantic” because riptides, furious winds and shallow shoals wrecked ships like paper hats along what would become the North Carolina Coast.”

From a shack in this environment in the early 1950s, a young mother walks away from her life with a violent husband and from her children.  The youngest child, Kya, is just 7 years old.  For a couple of years she still has the remnants of her family but later Kya’s older brothers and sisters are driven out too.  Eventually the father walks out, leaving Kya alone aged 10 years old, in a shack in the middle of a swamp.

Within the context of the story,  Kya’s survival as the ‘Marsh girl’ as she comes to be known by the locals, is credible although from a modern sensibility it seems unlikely.  Living on the ragged edge of a forgotten and derided community, at a time when there was no social services and certainly no surveillance.   No one noticed much if a child was not in school.

But the scientist author is obviously extremely knowledgeable about the ecology of the marshlands and there are many passages of lyrical description which make up for any slightly suspect plot points.

 

 

Daemons, Giants but Mostly Elves – A Brief Walk Round the Literary Marketplace

Unlike the real literary marketplace which is peopled by giants with 3 for 1 tables and  websites with a zillion hits,   the blogosphere literary reviews marketplace is peopled by elves.

Book elves,  that’s us folk who love to read and who do an awful lot of it and some of the books we love we hope and pray that someone else may love as well.  And even if they don’t or they can’t get to it right now well, there’s still a conversation to be had.

***

Sometimes I think there is too much ‘should this’ and ‘should that’ around reading.Too much of the latest thing, the big hype.  Happy the writers who are on the beneficial end of being the next big thing but that is a small number of people.

Meanwhile there is the rest of us.

At a time when we are sharply being reminded of the porous nature of our national borders have chosen I would like to share something from one of Philip Pullman’s essays ‘Children’s Literature without Borders’ from his collection entitled Daemon Voices (David Fickling Books).  The  His Dark Materials trilogy writer talks about the art of storytelling and why children’s literature ‘shouldn’t need passports’.

Can we read the wrong things or read things for the wrong reasons?  There are those that will say we can.

Reading for the wrong reasons is something that the guards on the border never do, but which other people do all the time unless they are supervised.

What Pullman is referring to  is the reading of adult books by children or vice versa.  This is different, he points out, to feminists writing books for other feminists, or gardeners writing books for other gardeners.  Children’s books are written by adults and most usually bought by adults.

When we categorise books and reading we are more likely shutting folk out than being inclusive.  He likes to imagine the literary marketplace as if it were precisely that.

A busy place with lots of people buying and selling, stopping for a gossip, a cup of coffee, or to watch a juggler or stop to listen to the storyteller…

The real literary marketplace is not like that.   There are many intermediaries who come between the storyteller and his audience, who come bearing gifts or influence, or gifts of influence, advice, marketing, ticket sales, book signings.

When Pullman wrote this in 2001 we were pretty much pre-internet.  But to me the blogosphere has become the nearest thing we have to that bustling market place that Pullman envisaged – unlike the shop with its regulated shelves for this age group or that age group,  books specially for women, or specially for men, cookbooks for those who like to eat, diet books for those who like to diet, books on politics for clever people.

A book blog is not a place of  commercial influence, or very few.  I guess that’s not why people do it.  It’s certainly not why I do it.   So why do it?  Do I hope to make a fortune? Hah!

I blog  to be part of a community.  Because someone may stop by for a chat or a virtual coffee, agree or say I’ve read that book too and it was amazing (or total rubbish).     At other times people may rush on by.   And that’s fine too.

Meanwhile, excuse me, I need to go and watch the juggler and listen to that storyteller over there …

 

 

 

Are the only sparrows left the ones we dream about?

20201

 

I dreamed about sparrows last night which I found rather sad if the only sparrows left are in dreams.

“Miners use canaries to warn them of deadly gases.  It might not be a bad idea if we took the same warning from the dead birds in our countryside.”

So wrote Lord Shackleton in 1963 in his introduction to Rachel Carson’s now iconic book Silent Spring

We couldn’t see it then could we – yet now it’s here.

Reading the right books  suddenly feels like a huge responsibility but which are the right books?

***

woman sitting while reading a book
Photo by Daria Shevtsova on Pexels.com

I’ve challenged myself to read 50 books in 2020 and to read more books about the environment, painful though it is.     Suggestions welcome in the fields of poetry, memoir, biography, literary fiction, philosophy and new nature writing.

So far on my list I have:

Figuring by writer, genius, blogger and writer of genius Maria Popova.

This was a daunting looking read coming in at a cool 545 pages – but fascinating and endlessly erudite.   I’m on p429 (yes, thank you Christmas).   Published by Canongate. Review upcoming  in the next week–

Bird Cottage by author, artist, singer, songwriter and philosopher Eva Meijer. Pushkin Press.

Really looking forward to this one on the connections between ourselves, the natural world and the epidemic of loneliness.

A Month in Siena by Hisham Matar,

the latest book from American born British/Libyan Pulitzer prize winning author of The Return, about the author’s search for his father. Published by Viking.

Dark Enchantment by Dorothy Macardle (Tramp Press).

Not an author I know anything about but I found this reviewed in the FT Weekend and thought it sounded intriguing – a sort of gothic ghost story set just after the Second World War.

Whose Story is This? Rebecca Solnit (Granta).

Who gets to shape the narrative of our times?

Daemon Voices, Philip Pullman. (David Fickling Books).

Famed author of His Dark Materials trilogy in a series of talks/lectures about his influences including Milton and Stephen Hawking.

Unsheltered, Barbara Kingsolver (Faber & Faber).

Mmm! A long way short of 50 but it’s a start!

Review of The Topeka School by Ben Lerner. (Granta Books)

The Topeka School by [Lerner, Ben]

Born from a Cambridge University publication in 1989,  Granta Books is a prestigious independent literary publisher which publishes about 25 titles a year.  From their website I note that an original launch list included works by Gabriel Garcia Márquez, Martha Gellhorn and Salman Rushdie.   The website lists prizewinning works they have since published,  including Booker winner Eleanor Catton’s The Luminaries.

To be published by Granta is to be part of an important literary conversation.

The Topeka School  is a book with a number of literary conversations and they are not always easy to follow.  At the centre of the narrative is a family: Dr. Jane Gordon,  second wife to her psychologist husband Jonathan (“a Jewish long-haired hippie from New york”) and her son Adam a brilliant debater and migraine sufferer.  The book charts the years as Adam heads through school in a patchily brilliant way to college.  The Gordon family comes to Topeka where the parents work for ‘The Foundation”, a mental health facility.   At school Adam becomes  a questionable friend  to Darren, a traumatized teenager completely ill equipped for life in modern America.

Darren is jeered at, laughed at, punched and beaten for no seeming purpose other than he is what he represents and what he represents is

“ … the bad surplus.  The man-child, descendant of the jester and village idiot and John Clare, the poet roaming the countryside after enclosure. “

A group of Darren’s ‘friends’ including Adam drive him to a lakeside spot then abandon him, drunk, drive off and leave him asleep.  Darren wakes confused the next morning and has to walk home as best he can.

The key that unlocks this otherwise rather confusing narrative I believe is a response given by the narrator to Darren’s mother –  a nurse at The Foundation (and therefore a colleague of Adam’s parents) – when she questions the ‘dumping Darren’ episode: surely these children of professional families knew better?

“Of course they knew better, but knowing is a weak state; you cannot assume your son will opt out of the dominant libidinal economy, develop the right desires from within the wrong life; the travesty of inclusion they were playing out with Darren-their intern- was also a citation and critique of the Foundation’s methods…”

It’s hard for people to behave outside the norm.  We cannot behave any old how and yet somehow  expect our children to perceive what their parents are doing wrong – all the cock ups they’ve made –  and distance themselves accordingly.    Sometimes that happens.  Most of the time it doesn’t.  Nature or nurture.

The account of Darren trying to find his way home on foot from this unfortunate escapade is interesting less for his state of mind than for the reactions he encounters or rather doesn’t encounter.  No-one stops.  No-one asks if he’s OK.  When he is spied limping and  dishevelled  and walking into (the wrong) town by a woman  she pulls her own children closer towards her, while completely ignoring the distress of someone else’s child.

The book seems to highlight the callous and sometimes appalling treatment of these young people by each other,  but it also asks where are these exalted and professional parents while their senior school kids are beating each other up?

The answer:

“Watching Friends or Frasier… doing desk work… reading Adrienne Rich or “Non Interpretive Mechanisms in Psychoanalytic Therapy”.   Some were eating or opening a window or just walking dully along on a treadmill.  Some were drinking gin and tonics in Taipei…”

Lerner’s book manifests the US as a country in some sort of hypnotic slide to the road crash that will become the Trump era; it is almost as if they can see it coming but are unable or unwilling to do anything to stop it.  Or maybe they think that the power of psychoanalytic theory or linguistic pyrotechnics will save them, as some rather naively now think that technology will save us.

Much attention is given within the story to the skill of debate – a subject in which Adam excels.  Yet the ‘linguistic overkill’ of the cleverness of debates, does nothing to address human understanding and particularly nothing to address relationships.  Debate is adversarial.  Someone wins and someone loses.  Debate is not dialogue.

“We thought that if we had a language for our feelings we might transcend them.”  Adam’s father says, pointing up the limits of psychology, as a science, as a medical approach. And the limits of language.

No-one in The Topeka School does transcend their feelings, nor surmount them, nor transform them.  They just dose their feelings up with alcohol and drugs,  both of the prescription and non-prescription variety.   –  Unsurprisingly this does little to halt the underlying tension and violence in which the story finally erupts.    The building in which The Foundation is housed, itself ends up empty and comprehensively trashed and no one could claim to be sorry.

The Topeka School is work which is concerned with the legacy of toxic masculinity – a legacy of which we are all in some way survivors.

Dr. Jane Gordon says:

“Once I asked another senior analyst why he referred to male postdocs as “Doctor” and female postdocs by their first names, and there I was, on the couch again, getting the penis envy lecture.”

Her response is “…the Foundation’s unexamined Freudian tradition, which pathologized women’s experience when it didn’t fit the great man’s theory.”

The book incorporates dizzying time switches and changes of narrative viewpoint often within the same chapter.    There are disintegrations everywhere, hidden, revealed.  Marital collapse. The mess of politically correct parenting, the inception of abusive parenting.  The sexual fantasies of those who write books on how to control the mind.  It is a book about about the human cost of trying to survive within an arid monoculture.

Thank you to #Net Galley and #Granta for this review copy.

 

On Earth We’re Briefly Gorgeous, Ocean Vuong

Summer has come and gone.  The expiry date for my ten books of summer has passed.   I only made it to No. 6. I apologise.

Ocean Vuong’s On Earth We’re Briefly Gorgeous outshines anything else on my reading list.  In fact, I would go so far as to say it outshines anything else on anyone else’s reading list.  In whatever genre.  Forget genres.  Here is something new.

On Earth We're Briefly Gorgeous

Vietnamese and from a refugee family which immigrated to the US when he was two years old,  the poet burst out of his allotted lowly refugee status and on to  the literary scene with a T.S. Eliot  prize winning poetry collection Night Sky with Exit Wounds (Cape Poetry, 2017) On Earth we’re Briefly Gorgeous is his first novel.

I do not know what there is to say about this book.  Next to Vuong’s poetry and prose any routine use of language that I might come up with would instantly collapse under the weight of its own inadequacy.

On Earth takes the form of a letter to Vuong’s mother who was violent towards him and who married a man who was imprisoned for violence towards her.  In short Vuong grew up surrounded by violence, whether or the domestic or other kind,  in Hartford,

…where we made a kind of life digging in and out of one brutal winter after another, where nor’easters swallowed our cars overnight.  The two a.m. gunshots, the two p.m. gunshots, the wives and girlfriends at the C-Town  checkout with black eyes and cut lips who return your gaze with lifted chins, as if to say mind your business

… where entire white families, the ones some call trailer trash, crammed themselves on half broken porches in mobile parks and HUD housing, their faces Oxy-Contin gaunt

Thank goodness the author does not mind his business. Thank goodness for his genius to  humanise modern America, to bring the  worlds of Saigon, Dunkin donuts, food stamps and nail bars crashing together as the voice of his lived experience.    How Vuong skewers the appalling opioid scandal which has decimated the US and is making its way to the UK

“OxyContin, first mass-produced by Purdue Pharma in 1996 is an opioid, essentially making it heroin in pill form”.

If you find this a totally inadequate review, so do I.  “Brilliant “shattering” “luminous” “a masterpiece” are some of the epithets I took from the publisher’s  back cover.  But I would say this.  Ocean Vuong is a writer whose work will appear on exam syllabi into the future.  This is a writer whose work will be studied, written about, lectured on, whose work will be the subject of dissertations and doctoral theses.

And still no-one will know how he did this.

 

 

Lost Children Archive, Valeria Luiselli (4thEstate)

This is a book born of heartache and a thousand acres of poetry.

Not for these children the blessing of growing up in a suburb somewhere,  getting yelled at about school work or too much screentime.    These are the refugee children, the anonymous ones, named only in the record of their deaths as if death alone brings an entitlement to recognition.  The right to a name is indeed hard earned for these refugee children trying to cross the desert,  to cross a long bridge in a good car and see tall glass buildings. To live in an imaginary world of light.

These are the universal siblings brought together by dire circumstances and the constancy and immanence of death.  They ride atop trains, jump off, run through thickets of gorse and stone, get scratched, bleed, or simply lie down and die of exhaustion and exposure.

“They had walked and swam and hidden and run. They had boarded trains and spent nights sleepless atop gondolas, looking up at the barren, godless sky. The trains like beasts, drilled and scratched their way across jungles, across cities, across places difficult to name. Then, aboard the last train, they had come to this desert, where the incandescent light bent the sky intoa full arch, and time had also bent back on itself.  Time in the desert was an ongoing present tense.”

And if the “barren, godless land” puts you in mind of Eliot, be assured, 21stcentury America  as portrayed in this book is The Wasteland made manifest.  In a nod to this Luiselli raises Eliot’s spectre in The Sixteenth Elegy.

“Unreal desert.  Under the brown fog of a desert dawn, a crowd flows over the iron wall, so many.  None thought the trains would bring so many.  Bodies flow up the ladder and down onto the desert floor.”

In one scene as children cross the desert  a plane passes overhead ironically full of other children.  They two groups will not know each other.   They will never meet.  But inside the plane a little boy sucks his thumb.  He is being  “erased from the fucked up country below him, removed.” As he drifts into sleep his thumb falls from his mouth.     “Finally he shuts his eyes, dreams spaceships.”

In a parallel storyline and universe  a (non-refugee) family try to make their way across the States in a bid to get from somewhere to somewhere else – to record the voices of the lost:  the Apaches,   the children.  A policewoman reprimands the family for breaking the law by letting their five year old travel in the back of the car without the correct designation of child car seat (the age limit is 7 not 5) because ‘we value our children’.   At the same time as someone else’s children are being shot at.

Somehow the author manages to make the book heart achingly sad but not at the same time depressing, perhaps because of the clarity of vision, the dextrous use of language which comes from a great deal of study and reading  thousands of acres of poetry.

But here is something else that occurred to me after reading this book.  For a project of my own I have been researching the teen fiction market. Coming from a poetry background it is not something I have ever felt the need to do before –  short of reading the obligatory Potter for my own kids.  But I asked around,   found some teen fiction titles and read them.

Why do we feel this need to categorise and make things generic for this age group, that age group?   Why do we assume that young people can only read a certain type of story?  But most of all I wondered how children can be allowed to die in the desert trying to get to a better life, but not be considered old enough or mature enough to read their own stories?

This is Book 5 of A Volatile Summer of Reading for my ten books of summer.