Archive for the 'Books' Category

On Monty

Published
by
peter
on 2010-11-26
in Books, Culture and Film
. Closed

Montgomery Clift is one of the silver screen’s greatest actors.  I have written before about his intensely-naturalistic speaking style, with its pauses and false starts and mid-sentence hesitations and apparently improvised modifications on-the-fly.    To speak as he did, in so many films, showed that this speaking style was probably not an artefact of all the screenwriters involved, especially when so few other actors in these or other films of the time spoke like that, but instead evidence of his own great intelligence and superb ear for speech.

Amy Lawrence has now written a fascinating book on his screen acting across his career, analyzing in detail what he did and how, and how he achieved his effects.  By studying his own, hand-annotated personal copies of film scripts, for example, she is able to identify his particular contributions to the scripts and the dialogue of the films he acted in, and is able to demonstrate the artistry and diligence behind his naturalistic speech.   And to show it, in many cases, as his personal artistry, as he worked to revise and rewrite dialog that was often originally stilted or unnatural.

By careful exegesis, Lawrence is also able to debunk some myths.   Clift’s shambling, addled performance as a courtroom witness in the late Judgment at Nuremberg (1961), for example, is usually presented as evidence of the drug and alcohol addictions he is supposed to have succumbed to following his near-fatal car accident in May 1956.  This accident destroyed his face and left him in pain, taking pain-killers and drinking.   But, as Lawrence demonstrates, his court-room appearance in the 1961 film shows many of the same personal characteristics and mannerisms of his court-room appearance in A Place in the Sun, filmed in 1951 - “tightening his fists, flexing his fingers, pushing against the armrests with his elbows” [Lawrence, p. 212].   Clearly, the origin of Clift’s witness-box performance is not drugs, but acting chops.  Speaking of the character played by Clift in Nuremberg, she says:

Peterson’s gestures are emphatic, not neurotic, but combined with his broken syntax and repetition of sentence fragments, Clift clearly suggests in his performance that the character is not in control of himself.  But the actor is.  When we see the recurrence of these gestures across time and roles, before and after the accident, it seems reasonable to call them choices characteristic of the performer.  Clift is not a mess; he plays one.” [Lawrence, p. 213]

Lawrence also notices how Clift, throughout his career, often acts with his back to the camera, either fully or partially.  These episodes usually signal that he is engaged in some intense, interior, psychological reaction to some event or person, as if he could better tell us what he is thinking by not showing us his face.   That he would even try to do something so counter-intuitive, let alone that he usually succeeds, demonstrates the great actor Clift was.

I had only one, very small quibble with Lawrence’s book.  She describes (on page 63) the scene in The Big Lift (1950) when Clift’s character, about to receive an award for helping in the Berlin airlift, turns and sees for the first time that the official award-giver is a beautiful woman.   Lawrence does not describe Clift’s eyes as he suddenly sees this woman:  his pupils dilate widely as an expression of his character’s plain delight. We know of course, that the actor Clift must have practiced and rehearsed this dilation until he could undertake it at will.   But knowing this fact increases our admiration for his acting skills, since it shows the dedication and diligence he brought to the task.

Clift’s acting art was artless, and like all artlessness, took immense preparation, intelligence, practice, and persistence to achieve.

Reference:

Amy Lawrence [2010]: The Passion of Montgomery Clift. Berkeley, CA, USA:  University of California Press.

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The writing on the wall

Published
by
peter
on 2010-10-08
in Books and Computer technology
. Closed

Over at Normblog, Norm tells us that he wants his books and not merely the words they contain.   We’ve discussed this human passion before:  books, unlike e-readers, are postcards from our past-self to our future-self, tangible souvenirs of the emotions we had when we first read them.   For that very reason – that they transport us through time – books aren’t going anywhere.  It’s a very rare technology indeed that completely eliminates all its predecessors, since every technology has something unique it provides to some users or other.   We could ask, for example, why we still carve words onto stone and why we still engrave names onto rings and pewter mugs for special occasions, when the invention of printing should have done away with those earlier text-delivery platforms, more expensive and less portable than books and paper?




Recent reading 4: Achtundsechziger

Published
by
peter
on 2010-08-12
in Books, History, Literature, Politics, Recent Reading and Terrorism
. 1 Comment

While elements of the left turned to revolutionary violence in most countries of the West at the end of the 1960s, three countries experienced this turn to a much greater extent than any other:  Germany, Italy, and Japan.  This fact has always intrigued me.   Why these three?     What facts of history or culture link the three?  All three endured fascist totalitarian regimes before WW II, but so too did, say, Poland, Hungary, Greece, Portugal, and Spain.  The countries of Eastern Europe, however, met the 1960s still under the Soviet imperium, and so opportunities for violent resistance were few, and in any case were unlikely to come from the left.   Spain and Portugal and, for a time, Greece, were still under fascism in the post-war period, so opposition tended to aim at enlarging democracy, not at violent resistance.   Perhaps that history is a partial explanation, with (some of) the first post-war generation, the 68ers (in German, achtundsechziger) seeking by their armed resistance to absolve their shame at the perceived lack of resistance to fascism of their parents’ generation.  Certainly the writings of the Red Army Fraction (RAF), the Red Brigades, and the Japanese Red Army give this as a justification for their turn to violence.

I have always thought that another causal factor in common between these three countries was the absence of alternating left and right governments.  With a succession of right-wing and centre-right regimes in Italy and Japan, and right-wing and grand-coalition (right-and-left-together) regimes in Germany, how were views in favour of socialist change able to be represented and heard?  Indeed, in the German Federal Republic, the communist party had been declared illegal in 1956, and remained so until its reformation (under a new name) until 1968.   And even the USA may not be an exception to this heuristic:  In 1968, the candidate of the major party of the left, Hubert Humphrey, was a protagonist for the war in Vietnam (at least in public, and during the election campaign).  And while the candidate of the major party of the right, Richard Nixon, had promised during the campaign to end the war, once in office he intensified and extended it.   For anyone opposed to the war in Vietnam, the democratic political system appeared to have failed;  indeed, one of those who had most publicly opposed the war, Robert Kennedy, had been assassinated. It is interesting in this regard to note that the Weather Underground only adopted armed resistance as a strategy in December 1969, a year after Nixon’s election.   In Chantal Mouffe’s agonistic pluralism view of democracy, a key role of political argument and verbal conflict is to bring everyone into the political tent.  If some voices, or some views, are excluded by definition or silenced by assassination, we should not then be surprised that those excluded try to burn down the tent.

And perhaps because I like the idea of acting according to (an empirically-grounded) theory of history, I always found the primary argument of the RAF very intriguing:  That by engaging in armed resistance to the capitalist state, the revolutionary left would force the state to reveal its essential fascist character, and that this revelation would awaken the consciousness of the proletariat, leading to the revolutionary overthrow of the state. Although intrigued by it, I never found this argument quite compelling:  First, it could be argued that a democratic state only has a fascist character in response to, and to the extent of, armed resistance to it.  So predictions of its fascist tendencies become self-fulfilling.   Second, the history of countries ruled by fascism in the 20th century surely shows that life under totalitarian rule makes organizing and engaging in dissident activities, particularly group-oriented dissident activities, less not more feasible.     Third, I believe strongly that not only do ends not usually justify means, but often means vitiate ends.     This is the case here:  suppose the violent left’s violent resistance had indeed worked in overthrowing the governments they were directed at.  What sort of society would have resulted?   What we know of the personalities of Andreas Baader and Ulrike Meinhof and their revolutionary colleagues leads me to think that a Cambodia under the Khmer Rouges, rather than a Sweden under Olof Palme, would be a more likely description for life in a West Germany led by the RAF.  Thank our stars they failed.

These thoughts are provoked by some recent reading on the subject of leftist urban terrorism in the West, both fiction and non-fiction.  The fiction concerns the psychology and consequences of life underground, long after any thrill of plotting and executing armed resistance has passed.

First,  a novel about the Angry Brigade (AB), the lite, British version of the Red Army Fraction:  Hari Kunzru’s “My Revolutions”.   This is a gripping first-person account by someone who had participated in AB actions, and now, 30 years later, is living under an assumed name.  His past comes back to him, through some not-fully-explained, but dirty, tricks that British intelligence agencies seem to be running.  These dirty actions are (or rather, appear to be) targeted against those who were on the edges of the violent left, but not part of it, who have now risen to prominence in Government (Joschka Fischer comes to mind), and the narrator is used by the shadowy intelligence forces to blackmail or destroy the career of the target of the action.  The writing is fluent and plausible, and the tale engrossing.  Only occasionally does Kunzru trip:  Who ever uses “recurrent” (page 4) in ordinary speech?  (Some people may say “recurring”.)    Precisely how does the sun beat down like a drummer? (page 10).   But most of the novel reads as the words of the protagonist, and not the words of the novelist, indicating that a realistic character has been created by the author’s words.

The same cannot be said for Dana Spiotta’s “Eat the Document”.   Although this book too is riveting, it is not nearly as well-written as Kunzru’s book.   The story also concerns the later after-life of some formerly violent leftists, presumably once members of the Weather Underground, now living in hiding in the USA, incognito.   The story is told through the purported words of multiple narrators, a technique which enables the events to be described from diverse and interesting perspectives.  I say “purported” because too often the words and tone of different narrators sound the same.  In addition, often a narrator uses expressions which seem quite implausible for that particular narrator, as when the teenage boy Jason speaks of “recondite” personalities in suburbia (page 74):  these are not Jason’s words but those of the author.

These works of fiction are partly engrossing to me because I once unwittingly knew a former violent leftist on the lam – the Symbionese Liberation Army’s James Kilgore, whom I knew as John Pape.  I wish I could say I’d always suspected him, but that is not the case.  Indeed, if anything, I suspected him of being a secret religious believer.  He was serious, always intense, and softly-spoken, and ideologically pure to the point of having no sense of humour. The Struggle was all, and life seemed to be all gravitas, with no levitas (at least in my interactions with him.  I have no idea how much of this serious demeanor  is or was his true self.)  Adopting a position as a committed revolutionary is certainly an interesting strategy for a cover;  one does not expect underground weathermen to be regular attenders at Trotskyist reading circles, but Pape was.  (And he did the homework!) But perhaps someone with a sense of humour does not join a movement of revolutionary violence in the first place, at least not in a democracy.

In the non-fiction category is Susan Braudy’s history of the Boudin family, one of whose members, Kathy Boudin, was a member of the Weather Underground.   As with Kunzru’s and Spiotta’s novels, this non-fictional account is also riveting.   It is, however, appallingly badly written. For instance, for a history, the book is very fuzzy about dates – when did Jean Boudin die, for example?  And much of the text reads like third-hand family anecdotes, perhaps interesting or amusing to the family but not to anyone else.  (Aunty Merle always was partial to rhubarb and once asked for it in a restaurant.)    And lots of very relevant information is simply not provided, for instance the prison sentences given to Kathy Boudin’s fellow-accused in 1981.   As a history book, this is certainly a book.

Finally, a quick report on Hans Kundnani’s superb analysis of the extreme German left, Utopia or Auschwitz:  Germany’s 1968 Generation and the Holocaust.  Kundnani argues that there were competing strains within the violent German left in the 1960s and 1970s:  one strain engaged in struggle (against capitalist and western imperialist injustice) as a form of remedy for the failure – or at least, the perceived failure – of their parents’ generation to resist Nazism, and other strains comprising German-nationalist and, suprisingly, even anti-semitic tendencies.    The presence of such tendencies at least explains how some on the far left in the 1960s ended up on the neo-Nazi right thirty years later.  Kundnani’s book is superb – interesting, well-written, humane, engrossing, and tightly-argued.  I had only one small quibble, which is perhaps a typo or an oversight:  On page 252, Kundnani refers to German military participation in a NATO-led attack on Serbian forces on 24 March 1999 as the “first time since 1945, Germany was at war.”  Well, the Federal Republic of Germany perhaps.   The DDR sent troups to join the Warsaw Pact invasion of the Czechoslovak Socialist Republic in August 1968.   If I was a former citizen of the DDR, regardless of my opposition to that invasion, I would be annoyed that my nation’s history seems to have been forgotten by people writing after unification on German history.

UPDATE (2010-08-25): My remark about participation by the DDR military in the Warsaw Pact invasion of the CSSR in 1968 is wrong.   The forces of the DDR were, at the last moment, stayed, as I explain here.    Thanks to Hans Kundnani for correcting me on this (see comment below).

References:

Bill Ayers [2001]:  Fugitive Days:  A Memoir. Boston, MA, USA:  Beacon Press.

Dan Berger [2006]:  Outlaws of America: The Weather Underground and the Politics of Solidarity. Oakland, CA, USA:  AK Press.

Susan Braudy [2003]:  Family Circle:  The Boudins and the Aristocracy of the Left. New York, NY, USA;  Anchor Books.

Uli Edel [Director, 2008]: Der Baader-Meinhof Komplex.  Germany.

Ron Jacob [1997]: The Way the Wind Blew:  A History of the Weather Underground. London, UK:  Verso.

Hans Kundnani [2009]:  Utopia or Auschwitz:  Germany’s 1968 Generation and the Holocaust. London, UK:  Hurst and Company.

Hari Kunzru [2007]:  My Revolutions.  London, UK:  Penguin.

Chantal Mouffe [1993]: The Return of the Political.  London, UK: Verso.

Dana Spiotta [2006]:  Eat the Document.  New York: Scribner/London, UK: Picador.

Tom Vague [1988/2005]:  The Red Army Faction Story 1963-1993.  San Francisco:  AK Press.

Jeremy Varon [2004]:  Bringing the War Home:  The Weather Underground, the Red Army Faction, and Revolutionary Violence in the Sixties and Seventies. Berkeley, CA, USA:  University of California Press.

Some previous thoughts on beating terrorism here.  Past entries in the Recent Reading series are here.

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Concat 3: On writing

Published
by
peter
on 2010-08-12
in Books, Concats, Fiction, Literature and Writing
. Closed

For procrastinators among you writing the Great American Novel, here are some links with advice on writing:

  • Hilary Mantel [2010]:  The joys of stationery.  The Guardian, 2010-03-06. On why writers need to keep loose-leaf notebooks.  An excerpt:

That said, le vrai moleskine and its mythology irritate me. Chatwin, Hemingway: has the earth ever held two greater posers? The magic has surely gone out of the little black tablet now that you can buy it everywhere, and in pastel pink, and even get it from Amazon – if they believe your address exists. The trouble with the Moleskine is that you can’t easily pick it apart. This may have its advantages for glamorous itinerants, who tend to be of careless habit and do not have my access to self-assembly beech and maple-effect storage solutions – though, as some cabinets run on castors, I don’t see what stopped them filing as they travelled. But surely the whole point of a notebook is to pull it apart, and distribute pieces among your various projects? There is a serious issue here. Perforation is vital – more vital than vodka, more essential to a novel’s success than a spellchecker and an agent.

I often sense the disappointment when trusting beginners ask me how to go about it, and I tell them it’s all about ring binders.”

  • Rachel Cusk [2010]: Can creative writing ever be taught? The Guardian, 2010-01-30.  A moving discussion on teaching creative writing, and the relationship between writing  and therapy.

Honest criticism, I suppose, has its place. But honest writing is infinitely more valuable.

At the start of last term, I asked my students a question: “How did you become the person you are?” They answered in turn, long answers of such startling candour that the ­photographer who had come in to take a couple of quick pictures for the ­university magazine ended up staying for the whole session, mesmerised. I had asked them to write down three or four words before they spoke, each word indicating a formative aspect of experience, and to tell me what the words were. They were mostly simple words, such as “father” and “school” and “Catherine”. To me they represented a regression to the first encounter with language; they represented a chance to reconfigure the link between the mellifluity of self and the concreteness of utterance. It felt as though this was a good thing for even the most accomplished writer to do. Were the students learning anything? I suppose not exactly. I’d prefer to think of it as relearning. Relearning how to write; remembering how.




Caute on Marechera

Published
by
peter
on 2010-08-10
in Africa, Books, Fiction, Literature and Poetry
. 1 Comment

One did not have to visit many bars or nightclubs in downtown Harare in the early 1980s before encountering the late Dambudzo Marechera  (1952-1987), Zimbabwean novelist and poet.    I knew him slightly, as did anyone who was willing to share a drink with him and enjoy (or endure) a stimulating late-night argument on politics or literature.   Some of his writing, for all its coarse language, is powerful and sublime (in the tradition of Burroughs and Genet), and David Caute, in a book I have just read, argues correctly that he was a great writer.    The book also captures his personality well,  even if it gives the impression that Caute thinks the work forgives the man.   It does not.  As a person, Marechera was a victim of  his addictions and perhaps also of a psychosis – mercurial, abusive,  racist, foul-mouthed, illogical, self-destructive, and paranoid:   not someone who was nice to be around for very long.     Nothing forgives such poor behaviour, not even great writing.

As always when I read David Caute, I am reminded of Graham Greene:  both are writers who grapple with the major moral questions and issues of our time, yet both write in the sloppiest of language, insincere and vague, and have the tinnest of ears.  Woolly writing might be evidence of woolly thinking or evidence of malice aforethought (perhaps attempting to hide or obfuscate something, as Orwell argued); it could also be evidence of insufficient thinking.  In any case, Greene’s and Caute’s arguments are often undone and undermined by their style.  We only get as far as page 6 of Caute’s book on Marechera, for example, before we stumble over:

Piled high at the central counter of the Book Fair are copies of his [Marechera's] new book, Mindblast, published by College Press of Harare, an orange coloured paperback with a surrealist design involving a humanized cat and a black in a space helmet.”

A black what, Dr Caute?  A black what?  I guess you mean a black person.  Just two sentences later, though,  you speak of,  “An effusive white executive of College Press . . .” So, let me get this right  – white people are important enough to have nouns to denote them, but black people not, eh?  Hmmm.

Although the effect is racist, I am sure Caute is not deliberately being racist in his use of language here, but rather just sloppy.    But the sloppy expression, here as elsewhere, leads one to doubt his sincerity and/or his ear.   Of course, someone who spent a lot of time in the company of white Rhodesians could easily forget how offensive the first usage sounds (and is); and we know from Caute’s earlier books that he spent a lot of time in the company of white Rhodesians.

Pressing on, on page 43 we read:

Such rhetoric counts for little against the current surplus of maize, tobacco and beef which only the commercial farmers can guarantee.”

Well, actually, no, Dr Caute.  Tobacco and beef were in surplus at the time referred to (1984) due to commercial (ie, mainly white-owned) farms.  But maize was in surplus because the avowedly Marxist government of Robert Mugabe used the price mechanism when it came to power to encourage communal farmers  (ie, subsistence black farmers) to produce and sell surplus maize crops.   This was something so very remarkable – the country in food surplus for its staple food almost immediately after 13 years of civil war and 90 years of insurrection, and because of the fast responsiveness of peasant farmers   – that all the papers were full of it.  Surely Caute must have heard.  (See Herbst 1990 for an account.)  And even beef production was boosted by contributions from communal farmers, particularly after the Government decided not to prosecute the many illegal butcheries competing against the state-owned meat-processing monopoly, the Cold Storage Commission.  (One may wonder why a socialist government would not support its own state enterprise against privately-owned competitors until one learns that many members of the Cabinet had financial stakes in the competing butcheries.)

Is the sloppiness in Caute’s sentence then due to Orwellian sleight-of-hand – seeking to promote a case that was factually incorrect – or just  due to insufficiently-careful thought?   I suspect the latter, although it is throwaway lines like this – as it happens, lines so common in the conversation of white Rhodesians in the 1980s – that make me ponder  the sincerity of Caute’s writing.

And, finally, Caute seems eager to berate the left and liberals for their failure to call attention to Robert Mugabe’s ethnic cleansing in Matebeleland in 1982-84, the Gukurahundi campaign.  Certainly more could have been said and done, especially publicly, to oppose this.  But why is only one side of politics to blame?  Both the US and the UK had conservative administrations at the time, both of which (particularly Thatcher’s) made strong representations to Mugabe over the fate of several white Zimbabwe  Air Force officers detained and tortured in 1982.   These governments did not make nearly such strong representations over the fate of the victims of the Gukurahundi. Perhaps Mugabe was right to accuse the west of racism on this.  And Mugabe’s military campaign in Matabeleland was not launched for no reason:  As Caute must know, South Africa and its white Rhodesian friends were engaged in a campaign of terrorist violence against Zimbabwe from its inception, with terrorist bombings throughout the 1980s.   The Independence Arch he describes traveling under on the way to Harare Airport was in fact the second arch built to commemorate Independence:  the first had been blown up shortly after it was built.   And even Joshua Nkomo admitted (at a press conference following his dismissal from Cabinet in February 1982) that he had asked South Africa for assistance to stage a coup after Independence.  While Mugabe’s 5th Brigade was certainly engaged in brutal and genocidal murder and rape, the campaign was not against an imaginary enemy.

Although evil may triumph when good people do nothing, from the fact of the triumph of evil it is invalid to infer that nothing was done to oppose it by good people.  Where are the mentions in Caute’s account of the strong, high-level and repeated Catholic opposition (both clerical and lay) to Mugabe’s campaign?  Where is the mention, in the statement that Mugabe detained people using renewals of Smith’s emergency powers regulations, of the independent review panel established by ZANU(PF) stalwart Herbert Ushewokunze when Minister for Home Affairs, the Detention Review Tribunal, to consider the cases of people detained without trial?  The members of this panel included independent lawyers, some of whom were white and liberal.    Some people, even some of the people Caute seems to excoriate, were doing their best to stop or ameliorate the evil at the time.

FOOTNOTE: I speculated on Robert Mugabe’s possible CIA connections here.   If true, this may explain the reticence of Western Governments to publicly criticize him in the 1980s.

References:

David Caute [1986/2009]:  Marechera and the Colonel:  A Zimbabwean Writer and the Claims of the State. London, UK:  Totterdown Books. Revised edition, 2009.

Jeffrey Herbst [1990]: State Politics in Zimbabwe. Berkeley, CA, USA: University of California Press. Perspectives on Southern Africa Series, Volume 45.

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Stalinist justice

Published
by
peter
on 2010-08-01
in Books, Heroes, History, Intelligence and Politics
. Closed

The Guardian recently carried a brief obituary of Marian Fagan, widow of Otto Sling (1912-1952), one of the accused in the show trials that took place in the CzechoSlovak Republic (CSR) in 1950-1952 while under Communist rule.    The obituary is written by their son, Karel Schling.   Sling had been a communist party official, and was one of the 11 (of the 14) defendants executed.  Fagan and her sons also spent time in prison as part of the investigations.  The show trials were arranged at Stalin’s behest and took place throughout Eastern Europe, with the partial exception of Poland.    The lead defendant in the Czech trials was Rudolf Slansky, a Deputy Prime Minister who until shortly before his arrest had been Secretary-General of the Communist Party of Czechoslovakia (KSC).

Apparently, the CSR President Clement Gottwald had initially resisted Soviet pressure to arrest Slansky, especially because the two men were personally very close from their time in exile in Moscow.   Only when threatened with arrest and deposition himself did Gottwald agree to order Slansky’s arrest, while still delaying the execution of the arrest warrent.    Sadly, an attempt by Czech emigre anti-communist intelligence organization Okapi to smear leading communist party officials by falsely associating them with western intelligence agencies resulted in an unsolicited letter being sent to Slansky offering to help him to flee westwards (Lukes 1999), and this letter was then used as evidence for the Soviet allegations of treason against Slansky, forcing Gottwald’s hand.  This false letter appears to have been sent without prior knowledge or consent of western intelligence agencies.

The dialogue of the show trial was scripted beforehand by Soviet advisors to the Czech intelligence agency, the StB.  At least some of the accused had been promised lenient sentences if they followed the scripts provided to them, but these promises were broken.    To ensure that none of the accused spoke off-script (as had happened, for instance, in similar trials in Hungary), the trials were even rehearsed.   However, due either to independence of spirit or to memory lapses (the accused had been held in solitary confinement and tortured in other ways), not all the accused always followed their scripts:  because the trials were being broadcast live to the nation, the judges of the court – unable or unwilling to improvise responses – adjourned the trial proceedings immediately these off-script statements occurred.

Among those falsely arrested and convicted were some who were not even communists or ones not of long standing, including the economist Rudolf Margolius, Deputy Minister of Foreign Trade at the time of his arrest.  Margolius only met his alleged fellow-conspirator, Rudolf Slansky, at the trial itself.    Despite a promise of a lenient sentence in exchange for following the trial script, Margolius was executed, along with 10 of his 13 co-accused.  Three were sentenced to life imprisonment.  

The injustice of this trial and the sentences imposed are not lessened by the observation that Rudolf Slansky may also have ordered the trial if his and Gottwald’s positions had been reversed, or that others, such as Sling, had been brutal Stalinists when in power themselves.   An innocent victim is still innocent even if he may, in some alternative universe, not be a victim.    According to Lukes (1999), Czech StB agents were appalled by the torture used by their counterparts in Hungary and Poland.   However, what strikes me as very interesting is that the Polish communist party leadership managed to mostly resist Stalin’s pressure to hold show trials and executions in this period, a subject deserving of another post.

Last month also saw the death of Sir Charles Mackerras, US-born, Australian-educated, British conductor and leading champion of Czech music.  

UPDATE (2011-09-11):  An explanation for Polish recalcitrance is provided by Stewart Steven, who argued that the post-war Eastern European show trials were the result of a sophisticated and cunning US intelligence operation, called Spinter Factor and using a Polish double-agent, to create suspicions between pro-Moscow and nationalist communists across the region. As with any writings on intelligence, the truth is hard to determine:  there may or may not have been such a US intelligence operation with this goal prior to the trials; if it had existed, it may or may not have been important or catalytic in the creation of the trials; indeed, the publication of a claim of the existence of such an operation 20 years after the trials themselves may itself have been part of some later intelligence operation, and unconnected with the earlier events.

References:

An interesting obituary of Marian Sling in The Independent is here.  If nothing else, it shows that the petty vindictiveness of the stalinists who ran the CSSR in the 1950s was not shared by ordinary citizens.

My prior salute to Czech reform communist Zdenek Mlynar is here.  Other posts in this series of heroes are here.  

Igor Lukes [1999]:  The Rudolf Slansky affair:  new evidence. Slavic Review, 58 (1): 160-187.

Heda Margolius Kovaly [1997]: Under a Cruel Star:  A Life in Prague 1941-1968.   New York, USA:  Holmes and Meier.  

Ivan Margolius [2006]:  Reflections of Prague:  Journeys Through the 20th Century. Chichester, England:  Wiley.  The Margolius family website is here.

Stewart Steven [1974]:  Operation Splinter Factor.  Panther (Granada, edition published 1976).

 




Writing Shakespeare

Published
by
peter
on 2010-07-22
in Books, Culture, Fiction, History, Literature and Shakespeare
. Closed

Since the verified facts of Shakespeare’s life are so few, even a person normally skeptical of conspiracy theories could well consider it possible that the plays and poetry bearing the name of William Shakespeare were written by A. N. Other. But just who could have been that other?

Well, even with few verified facts about Shakespeare’s life, we can know some facts about the author of these texts by reading the texts themselves.  Whoever was the author must have spent a lot of time hanging about with actors, since knowledge of, and in-jokes about, acting and the theatre permeate the plays.  Also, whoever it was must have grown up in a rural district, not in a big city, since the author of the plays and the poetry knows a great deal about animals and plants, about rural life and its myths and customs, and rural pursuits.  Whoever it was also had close connections to Warwickshire, since the plays contain words specific to that area.

Also, whoever it was must have had close personal or family connections to the old religion (Catholicism), since many of the plays make detailed reference to, or indeed seem to be allegories of, the religious differences of the time (Wilson 2004, Asquith 2005). Whoever it was was close enough to the English court to write plays which discussed current political issues using historically-relevant allegories, yet not so close that these plays themselves or their performances (with just one exception) were seen as interventions in court intrigues.

Whoever it was also knew well the samizdat poetry of Robert Southwell, poet and Jesuit martyr, since some of the poetry and plays respond directly to Southwell’s poetry and prose (Wilson 2004, Klause 2008). To have responded to Southwell’s writing before 1595, as the writer of Shakespeare’s narrative poems and early plays did, required access to Southwell’s unpublished, illegal, dissident manuscripts.  Southwell and Shakespeare were cousins (Klause 2008 has a family tree).

And finally whoever it was was not a playwright or poet already known to us, since these texts differ stylistically from all other written work of the period, while exhibiting strong stylistic similarity among themselves.

There is only one candidate who fits all these criteria, and his name is William Shakespeare. Anyone seriously proposing an alternative to Shakespeare as the author of Shakespeare’s plays and poetry needs to explain how that person could have written poetry and plays with all the features described above. Every alternative theory so far advanced – Kit Marlowe, the Earl of Oxford, Francis Bacon, Elizabeth I, et al. – falls at the factual hurdles created by the texts themselves.

Note: Klause [2008, p. 40] presents a genealogy which shows that Robert Southwell and William Shakespeare shared a great-great-great-great-great-grandfather, Sir Robert Belknap (c. 1330-1401, Chief Justice of the Court of Common Pleas of England, 1377-1388) – Southwell through his mother, Bridget Copley, and Shakespeare through his mother, Mary Arden.  In addition, the great-great-grandfather, Sir John Gage, of Shakespeare’s patron, Henry Wriothesley, Third Earl of Southampton, was also grandfather to Edward Gage, husband of Margaret Shelley, Southwell’s mother’s first cousin and, like his mother, a descendant of Sir Robert Belknap.  In the extended families of Elizabethan society, all three – Shakespeare, Southwell and Wriothesley – would have been seen as, and would have known each other as, cousins.   The bonds across such extended family relationships were strong.   Having lived in contemporary societies (in Southern Africa) where extended families still play a prominent role (Bourdillon 1976), the strong loyalty and close brotherhood engendered across such apparently-distant connections is perfectly understandable to me, if not yet to all Shakespeare scholars.

References:

Clare Asquith [2005]: Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare.  UK: Public Affairs.

Michael F. Bourdillon [1976]: The Shona Peoples: An Ethnography of the Contemporary Shona, with Special Reference to their Religion. Shona Heritage Series. Gwelo, Rhodesia (now Gweru, Zimbabwe):  Mambo Press.

John Klause [2008]:  Shakespeare, the Earl and the Jesuit.  Madison, NJ, USA: Fairleigh Dickinson University Press.

Anne R. Sweeney [2006]: Robert Southwell: Snow in Arcadia:  Redrawing the English Lyric Landscape 1586-1595. Manchester, UK:  Manchester University Press.

Richard Wilson [2004]: Secret Shakespeare:  Studies in Theatre, Religion and Resistance. Manchester, UK:  Manchester University Press.

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Is there a writer-presenter in the House?

Published
by
peter
on 2010-05-23
in Books, History and Politics
. Closed

Rory Stewart, new British MP for Penrith and the Border, is not the only accomplished writer to enter the House of Commons in the May 2010 elections.   Joining him is fellow Conservative, Zac Goldsmith, an environmentalist journalist and now MP for Richmond Park and North Kingston, and, for Labour, historian Tristam Hunt, now MP for Stoke-on-Trent Central.  As surely befits an MP representing The Potteries, Hunt is an historian of Britain’s great industrialisation of the nineteenth century and wrote a superb life of Friedrich Engels.  

Given their diverse backgrounds, it would be fascinating to hear Stewart and Hunt debate the legacies of empire on modern Britain, and how their respective constituencies – at opposite extremes of the rural-city divide – can both prosper.  Personally, I believe that commercial development of the environmental and energy sector is the only way that manufacturing in the old-world will survive this century, and this is also a sector with the potential to better connect city and country (eg, through the deployment of small-scale power-generating plants).    A web-dialog or a joint TV series, anyone?

References:

Tristam Hunt [2009]: The Frock-Coated Communist: The Revolutionary Life of Friedrich Engels. (London, UK;  Allen Lane).  I reviewed this book briefly here.

Previous posts on books and articles by Rory Stewart here, here and here.

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Brautigan on writing

Published
by
peter
on 2010-02-15
in Books, Creativity, Literature and Writing
. Closed

I am a great fan of the writing of Richard Brautigan, so I was delighted once to encounter a short reminiscence of Brautigan by that Zelig of the Beats, Pierre Delattre, in his fascinating memoir, Episodes (page 54):

The last time I saw him [RB], we were walking past the middle room of his house. There was a table in there with a typewriter on it.   ”Quiet,” he whispered, pushing me ahead of him into the kitchen. “My new novel’s in there. I kind of stroll in occasionally, write a quick few paragraphs, and get out before the novel knows what I’m doing.  If novels ever find out you’re writing them, you’re done for.”

Reference:

Pierre Delattre [1993]:  Episodes. St. Paul, MN, USA:  Graywolf Press.

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Copy me, I’m on my way out

Published
by
peter
on 2010-01-21
in Art, Books, Culture and History
. Closed

Cosma Shalizi at Three-Toed Sloth cannot understand why people desire original works of visual art rather than printed reproductions, especially when we’ve been buying printed books rather than manuscript codexes for centuries now.  He presents – and demolishes too quickly, I believe - some potential reasons for this.  I am very surprised by his view, but perhaps its the sheltered life I lead.

Thomas Jones A Wall in Naples

First, let me say as a computer scientist, that a map is not the territory.  It is easy to confuse a representation of some object with that object itself, and the people now singing the praises for e-books seem to be doing just that.   Au contraire, I believe that hard, physical books will continue to be purchased and kept yet for hundreds of years, and possibly many more years, because books are souvenirs of our experience of reading them.   The same is true of works of visual art.    If you have had some hand in the commissioning, the creation (for example, as subject of the artwork or as patron of the artist), or the selection and purchase of a work of art, you want the work of art itself, not a copy, to remind yourself of that experience.

Second, let me say as a former mathematician, that printed reproductions of artworks are projections onto 2 dimensions of 3-dimensional objects.  By definition, such projections will lose something.  If you think that what is lost thereby in visual art is unimportant, as Cosma seems to, then you’ve not been looking very closely at real paintings or drawings.  There are too many examples to recount, so let me just point to:  the brush-strokes in JMW Turner’s seascapes, which manifest and convey the torment of the scenes (and that of the painter); or the drip effects in Jackson Pollock’s action paintings, which likewise manifest and convey the energy of the creation process; or the careful, visible brushwork of the leaves and blades of grass in Pre-Raphaelite art or in the art of the Yangzhou painters of the early Qing Dynasty; or the brush-strokes in Chinese and Japanese calligraphy.   These effects are either invisible or can barely be seen in printed reproductions.  It is also worth noting that Chinese art has, for hundreds of years, supported “factory production” of 3-D paintings, using lesser-skilled artists to make approved copies of paintings by famous artists, usually under the direct, personal supervision of the famous artist him or herself; that these copies are purchased rather than printed reproductions indicates that the 3-D object has qualities perceived to be lacking in any 2-D print.

Third, let me say as a former statistician, that it seems to be easy for people familiar with Andrei Kolmogorov’s theory of complexity to imagine they have represented faithfully some object, when all they have captured is its surface form (its syntax).   As I have argued before, the canonical example used in discussions of algorithmic complexity is Kazimir Malevich’s painting Black Square, which is alleged to be easy to reproduce with an algorithm such as:

Paint a pixel of black in each pixel throughout the square.

At best what this algorithm generates is a copy not of the 3-dimensional painting itself, but of a 2-dimensional projection of it.  But even were it to recreate the 3-D object, such an algorithm ignores the meaning of the painting and the historical context of its creation – in linguistic terms, its semantics (or its use-context-independent meaning) and its pragmatics (its use-context-dependent meaning).      Both these aspects are immensely important to understanding and appreciating the work, and for explaining why it appeared when it did and not before, and understanding its reception and influence.  As I noted before, one can just about imagine the 18th-century Welsh  landscape painter Thomas Jones eventually creating something similar to Black Square, since he painted contemplative, Zen-like depictions of seemingly-featureless Neapolitan walls (such as A Wall in Naples, pictured above), but no other artist before Malevich.

How is this relevant?  Well, once you’ve seen and admired Malevich’s painting, no printed reproduction would satisfy you for an instant.

Finally, paintings – even when traditional, representational art – are best understood, not as representations of objects or scenes or feelings or indeed of anything at all, but as attempts at solutions to problems in painting.   Most solutions fail, so the artist abandons that attempt, and tries again.  In the meantime, the abandoned partial solution may provide pleasure and joy (or other responses) to those who view it, and to those who seek to emulate the methods of its painting which a careful study of it may disclose.   (The thoughts of Marion Milner are relevant here, especially regarding the quaint idea that artists make art to express some pre-existing emotion.)

FOOTNOTE:  The post title is a reference to an Ambitious Lovers song.




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