Stolen bodies working stolen land. It was an engine that did not stop, its hungry boiler fed with blood.
Colson Whitehead’s novel, The Underground Railroad, chronicles the life of a teenage slave named Cora, who flees the Georgia plantation where she was born, enduring unremitting hardship in search of freedom. The first time she had been approached by fellow-slave Caesar she had said no. Three weeks later they ran, pursued by a fanatical slave catcher named Ridgeway, determined to hunt them down and destroy the abolitionist network that has aided them. In flight, Whitehead’s narrative evolves into something both unexpected and surreal as he conjures scenes that fracture the distance between America’s past and its present. Continue reading “The Underground Railroad by Colson Whitehead: ‘If you want to see what this nation is all about, you have to ride the rails’”
Following news of the death of John Berger I decided to re-visit some of his books, many of which I last read decades ago. In this post I want to discuss his novel To the Wedding, first published in 1995. There must be some truth in the notion that the circumstances surrounding an encounter with an artistic work somehow may affect our response. When I first read this book soon after publication, I admired it as much for its portrayal of a post-Cold War Europe in which the novel’s characters could move with greater freedom across borders as for its its story of two young lovers facing a future poisoned by AIDS. Reading it again this week, still grieving after our own personal loss, the novel overwhelmed me with its humanity, its assertion of love in the face of death, with the fierce determination of a couple who seize joy from the present with a wedding feast described by Berger in transcendent passages that form the book’s conclusion.
What shall we do before eternity?
Take our time.
Dance without shoes?
Re-acquainting myself with To the Wedding, I now believe this to be John Berger’s masterpiece. Continue reading “Rereading John Berger: To the Wedding“
In a city, you can be alone in a crowd, and in fact what makes the city a city is that it lets you hide the strangeness in your mind inside its teeming multitudes.
― Orhan Pamuk, A Strangeness in My Mind
Writing in a recent post about Jim Jarmusch’s film Paterson, with its central character a bus-driving amateur poet who closely observes the special in the mundane details of the city he inhabits, reminded me that I ought to write something about Turkish novelist Orhan Pamuk’s latest, The Strangeness In My Mind. Read in December, it has as its central character an Istanbul street vendor through whom Pamuk weaves the tumultuous history of that city in the last half-century. Indeed, it carries the lengthy subtitle, ‘Being the Adventures and Dreams of Mevlut Karatas, a Seller of Boza, and of His Friends, and Also a Portrait of Life in Istanbul Between 1969 and 2012 From Many Different Points of View’. Continue reading “Orhan Pamuk’s A Strangeness in My Mind: the streets of Istanbul transformed”
This weekend John Berger will be celebrating his 90th birthday. For many people of my age, Berger burst into our lives in 1972 with his BBC series, Ways of Seeing, that with flair and imagination challenged accepted wisdom about art and culture. In the decades that have followed, Berger has enlightened and challenged me with more television documentaries, novels,screenplays, drawings, articles and essays. So today’s post celebrates John Berger, who in all the variety of his work has never ceased trying to make sense of the world, searching for a deeper, richer meaning in life and art, a Marxist ‘among other things’ whose words are sometimes those of the angry polemicist, but which invariably celebrate everyday experience and artistic expression with probing insight and subtle tenderness. Continue reading “John Berger: 90 years of looking, listening and seeing”
In the current issue of the London Review of Books there is an article by John Lanchester in which – although he’s writing about Brexit – he makes an observation that seems to resonate with a novel I read recently: ‘England’, Lanchester writes, ‘is both a small country and a big one …there is a lot of Deep England out there.’
Tom Bullough’s Addlands is set in deepest Radnorshire, a story of hill farmers battling with the forces of nature in one of Britain’s wildest, poorest and least populated areas. Historically a Welsh county, culturally Radnorshire has been a law unto itself, its people declaring their identity as neither Welsh nor English, but Radnor folk, people of the Borders; and fiercely-contested borders between fields and farms form one of the threads in a novel that spans the decades from the 1940s to 2011. Continue reading “Addlands: the inescapable ties of geography and place”
There’s a DVD I’ve had for years but never watched, except for the first ten minutes or so. I’ve always been overwhelmed at the prospect of the long haul that lies ahead. Made by the director Béla Tarr, it’s a seven hour long adaptation of the first novel by fellow Hungarian László Krasznahorkai, called Sátántangó.
The book was published in Hungary in 1985, and Bela Tarr’s film came out nine years later. But it was only in 2012 that an English translation of the novel appeared. Lent it by my friend Dave, I finished it in just less than the time it would have taken me to watch the film version. But what to make of it? Continue reading “Satantango: humanity flounders in the mud”
I’ve reached the half-way mark in my odyssey through the novels of Charles Dickens – his most ambitious work, and the one which is widely held to be his masterpiece: Bleak House.
Dickens began writing Bleak House in November 1851, towards the end of the year of the Great Exhibition, that symbol of the high-water mark of Victorian Britain. Looking back on the year, the Manchester Guardian asserted that were ‘good grounds for satisfaction, for hope, and for self-approval’. Dickens did not concur. Continue reading “Re-reading Dickens: Bleak House”