15.6.13

heirachy of hawks


The often-quoted Book of St Albans or Boke of St Albans, first printed in 1486, often attributed to Dame Julia Berners, provides this hierarchy of hawks and the social ranks for which each bird was supposedly appropriate.
Emperor: The Golden Eagle, Vulture, and Merloun
King: The Gyr Falcon and the Tercel of the Gyr Falcon
Prince: The Falcon Gentle and the Tercel Gentle
Duke: The Falcon of the Loch
Earl: The Falcon Peregrine
Baron: The Bustard
Knight: The Sacre and the Sacret
Esquire: The Lanere and the Laneret
Lady: The Marlyon
Young Man: The Hobby
Yeoman: The Goshawk
Poor Man: The Tercel
Priest: The Sparrowhawk
Holy Water Clerk: The Musket
Knave or Servant: The Kestrel

10.6.13

snowden or the spy who became a spy



The first thing I thought, seeing the name, was how peculiarly British it sounded. It has echoes of decadence and empire. The fifties. A decade which acts as the parent of the UK’s contemporaneity. A country which inverts the ageing process, becoming a childish imitation of what it once was, as it seeks to cling to a memory of a time when the map was red. ‘Our’ red.

Then I watched the video. A brief shot of a harbour in Hong Kong. Then his face. With the back of his head caught in a mirror. No sign of the interviewer. His face a blank, IT face. Which is described as 29 years old but could easily be older. An anonymous face, you might say, which is perhaps perfect for a spy, except that Snowden wasn’t that kind of spy. More Smiley than Bond. A backwater fish. A face which doesn’t look like it knows how to look after itself. Which knows its way around a computer, but might get knocked over crossing the road.

This lack of worldliness might be the clue. As to why he should have the guts or the temerity or the stupidity or the vanity to take on the might of his former proxy employers, the US National Security Agency. Bond would never be so foolish. Bond emerges, counter-intuitively, as a company man. Always back for more. Snowden, his nemesis, is prepared to burn his bridges.

He’s articulate. His way of talking, or rather, his way of responding to an interviewer’s questions, is precise, clear-headed. He’s condensing months, years, of thoughts into clear, simple answers. The interview technique of one whose decisions are grounded. It’s a ten minute conversation. Only bare details of his life emerge. But these are enough. To make the viewer think about the fate of this man’s family, his girlfriend, his life. He doesn’t seem lost or confused or bewildered. It’s not as though life has overwhelmed him, although at one point, in the last fortnight, that must have been what happened. The point at which consideration became action. When he contacted the journalists. Sent the Powerpoint presentations. When he spoke to someone or sent the email requesting sick leave for his epilepsy. When he spoke to or didn’t speak to his girlfriend. When he went to the airport. Did he pay in cash? How did he cope with the weight of the world on his shoulders during those days? The days when he finally felt like a spy, a real spy, a spy like the ones in the novels and the movies, working undercover, risking everything.

Only then, of course, did he realise that he was a spy spying on his own. As indeed his government constantly acts as a spy, spying on its own.

And, let’s be honest, there’s nothing particularly shocking in all this. We all know, in this age, this database, this mainframe, that the chips have been implanted and that They Know Everything. That’s modernity, baby. You have no secrets in modernity. Even the things you don’t type, you don’t buy, you don’t dream about. They Know These Things Too. They are your jealous partner, wedded for life.

There’s nothing shocking about this, for all the liberal shock and awe. It’s part of the new religion. God merged with State. They are all-seeing. Foucault saw it first. Dick saw it second. Bourne made the movie.

Which might be why the story as such didn’t impact on me particularly, the first days it broke. It was only yesterday, when the hero emerged, that the story acquired body. Which reveals something about stories. Without protagonists they’re just more data. Part of the mainframe. Stories can’t run on their own. To really work, they need people to front them. Snowden has made this story his own and in so doing he has made the story real.

Unless, that is, he is no more than another plant. 

26.5.13

further extracts from road to babadag by andrzej stasiuk

The night filled the room in the attic. amd he could recall his life without obstacle, because insomnia, just as many years ago in Sibiu, has taken the place of eternity for him. On Brazilor Avenue and Father Bratu Avenue and Episcopei Avenue And Andrei Saguna Avenue and Ilarie Mitrea Avenue the animals sleep. In the dim, close barns the cows lie and chew as they sleep. The horses stand with lowered heads at their empty cribs. As it ought to have been and in fact is. The heat departs from him forever and over Rasinari joins the heat of the livestock. Then it lifts into the black sky above the Carpathians and flows towards the cold stars like a vision of the soul, a vision he couldn't stand because it kept him awake.

+++

The loneliness of a liberated mind is as great as the sky over Transylvania.

+++

Travel is no more than a relatively healthy form of narcotic, after all.

+++

Time, approaching from afar, is like the air that someone else has already breathed.

+++

Kocevski Rog suggested an architecture that would never come to pass, because the simplicity of its beauty would throw into question the whole point of an imagination.

+++

It gives me no rest, my wish to know the fate of all these scenes that entered my eyes and have remained in my thoughts. What happens to them when I am no longer there? Unless I have taken them with me, immobilised them for all time in my mind, and they will be with me until the end, untouched by the change of seasons and the weather.

+++

From across the bleached, shaggy dunes, the sound of waves crashing, as old as the world and as monotonous.

+++

For almost an hour I saw him come and go, in a constant rush, trousers bagging as he did battle with dirt and dust, a Buster Keaton of the Delta trying to stem the chaos of volatile substances and defend Sfantu Gheorghe against the rain of particles from outer space.

+++

From inland would come mirages of distant cities. Between the mirror of the water and the clouds, Bucharest might appear, Berlin might float, Prague, London, Istanbul, and, with the right combination of light and convection currents, a fusion of New York and Montevideo, Tokyo and Montreal.

+++

This surviving is done day by day, without hope; fatalism alone holds things together. Concrete, bricks, steel and wood combine in random proportions, as if waxing and waning can reach no final agreement.

+++

Any place with a population of over 100,000 I cross off my list: Go ahead, build, in the hope that some day it will completely block the view of where you came from.

+++

Freed from the workings of time, they are indifferent to the nothingness that will claim Gonc and all the other places we have given names to, because only by naming can we grasp the world, even as we condemn it to destruction.

+++

I need my own country. Where I can travel in a circle. A country without clear borders, a country unaware that it exists and doesn't care that someone invented it and entered it. A sleepy country with murky politics and a history like shifting sand.

+++

A graceful, relaxed clutter here, the remnants of projects never completed, storage gradually turning into rubbish. Plastic bags, compost, fallen apples, weeds, beaten paths, an eternal present crouched in the shadow of walnut and cherry trees. The Gothic slowy disintegrated here, and its disintegration led to things that had no history, things that had use and significance for a moment only. The new joined the old in a just order, a liberte, egalite and fraternite of matter.

+++

19.5.13

Extract from 'on the road to badabag' by andrej stasiuk

Some sping, not only will the snow melt, everything else will melt too. The brown-grey water will wash away towns and villages, it will wash away animals, people, everything, down to the naked skeleton of the earth. Meteorology and geology will join forces, ruling in a dubious coalition with history and geography. The permanent will seize the transitory by the throat. The elements will resume their places on Mendeleev's table and no more tales, no more narratives will be needed to interpret existence.

+++

I imagined that somewhere between Cierna, Chop and Zahoney a city would grow from the naked soil like a hallucination of the damned, with twenty-four hour commerce, unlimited supply and demand, nd that consumption and capital expenditure would be joined forever in mystical marriage. 

8.4.13

margaret

Margaret Thatcher won her third election on my 21st birthday. It felt inauspicious and inevitable.  We drove to Bridlington. It was bracing. We sat on the beach and drunk the best part of a bottle of champagne. I don't seem to remember there being any real doubt about the outcome of the election and for this reason it didn't seem right to be celebrating. I went swimming in the sea. For the hell of it. There is little pleasure to be gained from swimming in the North Sea in early June on the day of a British general election. At some point we must have driven back across the moors. In my memory this all occurred in late Winter not early Summer. I imagine we went out to eat in the evening. I remember a large barn of a restaurant that served fancy burgers and being drunk and How Soon Is Now playing and then sitting outside beside the Ouse but that might have been another birthday or someone else's birthday or it might never have happened at all. The only things that stick are swimming in the sea and knowing Thatcher was about to win another election. Which was not good news. Bad news for the country, for us, for me and above all for my 21st birthday. It felt like this thing - Thatcher - would never end. She would always be there, buggering up my birthdays, casting a pall over our youth, leaving us searching for the light at the tail end of long Summer days.

27.3.13

the script reader dreams the script they dreamt they were reading

The alarm clock goes off. The reader reaches to switch it off. Slowly the realisation dawns. The reader is trapped within a script. But what kind of script? She gets out of bed and tiptoes through to the next room. The TV is still playing. Scattered on the floor are cans of lager and the vestiges of last night's Chinese takeaway. On the sofa someone stirs. They have long hair and they're clearly hung over. Upstairs music starts playing loudly. The reader recoils in horror. She's landed in a student sitcom. Any second now three spotty males are about to arrive and eat toast and take the piss out of the man on the sofa. Then, the man wakes up. He stands up and he starts to cry. The reader walks to the window and looks out. She's on a council estate. It's run down and grim. There's a dog barking next door. The student is on the phone to his dealer. He's not a student. He's an ex-con. It's not a student sitcom. It's an urban crime story. The ex-con is saying he's got the money. He's shouting at some one, saying he'll be there. The ex-con leaves and the reader follows them. The ex-con goes to a cafe. He meets an arctic explorer. A female arctic explorer. They have a long conversation about why the arctic explorer needs to have therapy. In fact, the ex-con is the arctic explorer's therapist. And they're having an affair. The conversation is interrupted by precise sound effects. The sound of the wind in the arctic. The exaggerated tones of an expresso maker. The reader tries to keep up. She realises she's in a radio drama. The drama cuts to a boat. The arctic explorer has her own cabin. The good-looking ship's captain enters. He tells the arctic explorer he'll follow her to the ends of the earth. She says that's good, because that where they're going. The reader's watching through a porthole. Next thing the captain's outside flirting with her. It's a romantic comedy. With a bittersweet ending. The explorer's running away from her true love. Who's an ex-con who lives on a council estate. But no matter how far she goes, she can never escape him. The ship's captain knows this. So even though he's fallen in love with the arctic explorer, he decides to flirt with the reader. Because he trusts her. To stick with him to the end, no matter how corny it gets. Now it is the end. The reader's pregnant. She's in a large house with views of the sea. The captain's boat is coming into port. She can't see it but she knows he's coming back. With a rising sense of horror, the reader realises the worst. It's all going to end happily ever after.

1.3.13

tango en flor (with thanks to hector manuel vidal)

She was softer than the water,
than the soft water,
she was fresher than the river,
orange tree in bloom...
And in that summer street,
lost street,
she left a piece of life
and she left...

First you learn to suffer,
then to love, then to leave,
and finally to walk without thinking...
Scent of orange blossoms,
empty promises of love
that escaped in the wind...
After, does it matter the afterwards?
All my life is the yesterday
that stops me in the past,
eternal and ancient youth
that has left me unnerved
like a bird in the dark.

What have my hands done to her?
What have they done to her
to leave me in the chest
so much pain?
Pain of an old grove,
street corner's song
with a slice of life,
orange tree in bloom...


***

Era mas blanda que el agua,
que el agua blanda,
era mas fresca que el rio,
naranjo en floor...
Y en esa calle de estio,
calle perdida,
dejo un pedazo de vida
y se marcho...

Primero hay que saber sufrir,
despues amar, despues partir
y al fin andar sin pensamiento...
Perfume de naranjo en flor,
promesas vanas de un amor
que se escaparon en el viento...
Despues, que importa el despues?
Toda mi vida es el ayer
que me detiene en el pasado,
eterna y vieja juventud
que me ha dejado acobardado
como un pajaro sin luz.

Que le habran hecho mis manos?
Que le habran hecho
para dejarme en el pecho
tanto dolor?
Dolor de vieja arboleda,
cancion de esquina
con un pedazo de vida,
naranjo en flor..



LYRICS by: Homero Exposito

20.2.13

Ley Nº 18.250 MIGRACIÓN NORMAS

Artículo 1º.- El Estado uruguayo reconoce como derecho inalienable de las personas migrantes y sus familiares sin perjuicio de su situación migratoria, el derecho a la migración, el derecho a la reunificación familiar, al debido proceso y acceso a la justicia, así como a la igualdad de derechos con los nacionales, sin distinción alguna por motivos de sexo, raza, color, idioma, religión o convicción, opinión política o de otra índole, origen nacional, étnico o social, nacionalidad, edad, situación económica, patrimonio, estado civil, nacimiento o cualquier otra condición.

19.2.13

On Exactitude in Science


. . . In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.

Suarez Miranda,Viajes de varones prudentes, Libro IV,Cap. XLV, Lerida, 1658

From Jorge Luis Borges, Collected Fictions, Translated by Andrew Hurley Copyright Penguin 1999 .

11.2.13

on irony - tracey thorn

I think it's really problematic that everything is now seen through an ironic tinge; it just makes it very difficult for people within the arts to be entirely sincere about things without looking like they just haven't thought it through properly. The problem with irony is it assumes the position of being the end result, from having looked at it from both sides and having a very sophisticated take on everything, so the danger of eschewing irony is you look as though you just haven't thought hard enough about it, and are just being a bit simplistic.


===


28.1.13

rites of passage



We had spent nearly three months lost in the Sahara. Our initial plan had been to
cross from East to West, using Sorenʼs house in Tenerife as our launch pad. We
flew from there to Marrakech. Things started to go wrong almost immediately. We
travelled to Erg Chebbi on the edge of the Sahara, the gateway to the real desert,
where we were due to meet up with Rashid, our guide. He never showed up. The
local guides made their living from helping tourists disembark from their four by
fours and transfer to a camel train which took them half an hour into the desert,
where groups of Canadians, Australians and North Americans would sing songs
round an open fire and eat couscous and satisfy their lust for adventure. None of
these guides were interested in a group of five crazies who actually planned to
enter their desert. The expedition was only rescued from disaster when a Berber
who was heading towards the Algerian border to hook up with his tribe agreed to
let us tag along.

The succession of wrong turns, near-death experiences and mirages (both
physical and psychological) that occurred over the course of the following ten
weeks have been detailed in my travelogue, Lost in a Sea of Sand, which you
may well have read. This isnʼt the place to repeat any of that. Suffice it to say that
when we finally escaped from the desert and arrived at Timbuktu, it seemed like  
a dream. Each one of us had forgotten what a world containing buildings looked
like, had forgotten that a world where man could exercise some kind of
ascendancy over nature (and sand) existed.

Timbuktu is an ancient city, with an extensive and highly developed cultural
heritage. None of us had the slightest interest in this. All we cared about was
having a proper shower, not having to sleep in a tent, and being able to get out of
the sun. These are the things that matter after youʼve spent the best part of three
months trying to stay alive in the Sahara. When Pav came back after going out to
have a look around and told us sheʼd found a Welshman in the library, no-one
was impressed. It was only when she added that he was a Welshman with a
generator, a fridge and a seemingly limitless supply of cold beer, that our
curiosity was aroused. 

His name was Liam and he told us heʼd lived there for almost ten years. He had
originally come as part of a project which intended to catalogue the library of
Abdarahman Sidi Idie, initiated by an organisation heʼd worked for which he
grandly claimed was a depositary for all the stories in the world. The job had
taken longer than anticipated. After a couple of years the funds had run out, and
his colleagues had returned to Europe, but Liam had fallen in love with the city,
its libraries, and their stories, and had chosen to stay.
    
I asked where the beers came from. He told me they were made from barley
stewed in fermented camel milk. Back home Iʼd have probably spat out the sip Iʼd
just taken, but under the circumstances even camel-piss fermented beer would
have tasted just fine.

It turned into a crazy night. The alcohol went to everyoneʼs heads. The energy
weʼd been using just to survive was no longer needed for that purpose. We
suddenly had a surplus. It affected us all in different ways. Pav and Soren finally
had sex, after weeks of pretending they werenʼt really interested. Those seven
days in Timbuktu, drinking Liamʼs beer, waking up hungover then drinking some
more, was one of the best weeks of our lives. None of this is in the book,
because itʼs personal, and even though the publishers begged me to make the
book a bit juicier, I didnʼt think it was appropriate. Thereʼs a big difference
between your public life and your private life, and you have to respect that.

It was also under the influence of Liamʼs beer that I found myself walking into a
mosque for the first time in my life. Of course, Iʼd visited mosques before, as a
tourist, but this time it wasnʼt like that. I guess that whilst the others used up all
that surplus energy being physical, I used that surplus energy and applied it to
the spiritual side of things. It was the first time I realised what it meant to be in a
holy place. As I sat on the floor, watching people chat or pray, with no one
seeming to bat an eyelash at this westerner sharing their sacred space, I
experienced what I can only call, no matter how corny it sounds, a sense of
transcendental relief. There and then, God came to find me. I knew straightaway
the part he had played in our salvation, as well as realising that it would always
be, from now on, so much better now that I was aware of his presence, by my
side, to guide me through all the journeys I had yet to make.

Of course, none of this is in the book either. My publishers like to play me up as
some kind of macho figurehead, always going on crazy adventures, challenging
the boundaries, as it says on the back of all my books. I canʼt complain. My
image is my fortune, and without it, I wouldnʼt be able to do the things I feel I
have to do in this world, no matter how self-serving and absurd they sometimes
seem. My public doesnʼt need to know the truth about my relationship with God.
Not yet. One day soon, I shall tell them. Or God will reveal it. But for now, they
wouldnʼt be ready for it, and I have to assume that heʼs OK with that, otherwise
heʼd do something about it.


2010


+++ 

24.1.13

neruda on cortazar

"Anyone who doesnt read Cortázar is doomed. Not to read him is a grave invisible disease which in time can have terrible consequences. Something similar to a man who had never tasted peaches. He would be quietly getting sadder, noticeably paler, and probably little by little, he would lose his hair."

+++

2.1.13

random dialogue from unwritten london drama

Once I went to see a film. It was on the South Bank. I went with a friend of mine and he invited these people who I didn't know. We all went together. After the film ended we all walked out and we were by the river. There was this boy. The boy was lost. Quite clearly. He was like a little bird. A fledgling out of the nest. He was timid and shy and he didn't talk so much as whimper. One of my friend's friends, a girl, started talking to him. She was good with him. She talked to him. Got his trust. She took him by the hand. It was impressive. You know, those women who have a way with kids. And this was more than that. Because he didn't just have a way with kids, she seemed to really connect. With this lost child. To bring him out of himself. Gradually she coaxed him into leading the way. Because - like a lost bird - the child knew the way. The way back. I was really impressed. The child had been on a boat trip. And she got him to lead us back to the boat. Two years later, the girl turned up again. And of course I remembered. And I was attracted to her. I thought she had a wonderful gift. But - do you know what? 

What?

It didn't work out. The truth was that she wasn't the person I thuoght she was. She was a bit like the boy. She was really lost. She was constantly looking for someone to lead her home. 

She'd identified with the boy. That was why she'd understood.

Yeah. The boy being lost had nothing to do with the boy. It was all about her.



16/06/12









29.12.12

Of the Plate-River, that is, the Silver-River.

Excerpt From: Bartolomé de las Casas. “A Brief Account of the Destruction of the Indies.”


Some Captains since the Year 1502 to 1503 undertook Four or Five Voyages to the River of Plate, which embraceth within its own Arms great Kingdoms and Provinces, and is peopled by rational and well-temper'd Inhabitants. In the general we are certified, that they were very injurious and bloody to them; but they being far distant from those Indians, we frequently discourse of, wer are not able to give you a particular account of their Transactions. Yet beyond all Controversie, they did, and still do go the same way to work, as others in several Regions to this present time do, and have done; for they are the same, (and many in number too) Spaniards who went thither, that were the wicked Instruments of other Executions, and all of them aim at one and the same thing, namely to grow Rich and Wealthy, which they can never be, unless they steer the same Course which others have followed, and tread the same paths in Murdering, Robbing and Destroying poor Indians.

After I had committed to Writing what I have prementioned, it was told me for a great Truth, that “Cruelly and Bloodily with these harmless People, at a horrid rate, having a greater Opportunity and Convenience to be more Infamous and Rigid to them, then others, they being very remote from Spain, living inordinatly, like Debauches, laying aside, and bidding farewel to all manner of Justice, which is indeed a Stranger in all the American Regions, as is manifest by what hath been said already. But among the other Numerous Wicked Acts following this is one that may be read in the Indians Courts. One of the Governours commanded his Soldiers to go to a certain Village, and if they denyed them Provisions, to put all the Inhabitants to the Sword: By Vertue of this Authority away they march, and because they would not yield to them above Five Thousand Men as Enemies, fearing rather to be seen, then guilty of Illiberality, were cut off by the Sword. Also a certain number of Men living in Peace and Tranquillity proffered their services to him; who, as it fell out, were call'd before the Governour, but deferring their appearance a little longer than ordinary, that he might infix their minds with a remark of horrible Tyranny, he commanded, they “they should be deliver'd up, as Prisoners to their Mortal Indian Enemies, who beg'd with loud Clamours and a Deluge of Tears, that they might be dispatcht out of this World by their own Hands, rather than be given up as a prety to the Enemy; yet being resolute, they would not depart out of the House wherein they were, so the Spaniards hackt them in pieces Limb by Limb, who exclaim'd and cryed aloud, "We came to visit and serve you peaceably and quietly, and you Murder us; our Blood with which these Walls are moistned and sprinkled will remain as an Everlasting Testimony of our Unjust Slaughter, and your Barbarous Cruelty. And really this Piaculum or horrid Crime deserves a Commemoration, or rather speak more properly, the Commiseration of all Persons.”

26.12.12

montevideo spring


Butoh in the Sala Verdi

In the late afternoon he goes running and Gershwin's Rhasphody in Blue comes on the headphones. The vista is broken into two. Sea and skyline. Eclectic buildings arrange themselves around the waterfront. The sun begins to fail.

At night, with C rehearsing Henry the Fourth, Parts 1&2, he goes around the corner to the Verdi. There's a Butoh dancer from the States performing. In his other life he would never go to a see a Butoh dancer from the States perform on a whim. It would cost too much, it would involve travelling too far. But this isn't the other life, this is this one. It's round the corner and it's free. So he goes, meeting a friend in the lobby.

The Butoh dancer appears. In her opening sequence, she is caught up in a vast red sail, struggling to escape, writhing in the most deliberate of fashions to music by Phillip Glass. In the next, she is naked on a plinth, contorting her body into bizarre, challenging, impressive but uncomfortable shapes. In the third, she is naked again. Again, her body is contorted. Her shapely figure struggles against gravity. Her hands become one with two branches lying on stage. She gives birth to the universe. At the climactic moment, a phone rings. The dancer is immune. She is giving birth to the universe. My friend suggests this must be the end. I say there's plenty more to come. I am right. Now that the universe exists, it needs to be populated. The next phase is a film. The dancer, naked, contorted. Her mouth held open in an eternal O. As though meditating as she turns herself into a living sculpture. Soon she's back in person, only now the projection is there too. She's double dosing. Now she achieves an even more impressive feat. Not content with giving birth to the universe, the dancer now gives birth to herself. Petals fall from the ceiling. Transcendence is back. In spades. Old ladies shuffle in their seats. The theatre creaks. So much nudity is not good for its blood pressure. Acknowledging this, the dancer puts some clothes on for the final sequence, a Butoh parody of a ballet, all strained limbs and minimal movement. She appears for her curtain call. Montevideo rises to its feet.

+++

Oro De Rhin

The Germans get everywhere. They didn't have much of an empire, ever. Which probably didn't help. But, just like the British, whose influence reached parts you would never expect, the Germans had long tentacles.

So here I am sitting in one of the city's oldest cafes. Which looks like something out of old Berlin or Vienna. Pretty tablecloths and faintly art nouveau chairs. A place inspired by Mittel Europa and populated by the descendants of elderly Spanish ladies. Who are now, on the whole, elderly Hispanic ladies themselves. Drooling over their cakes and elaborate coffees served in glass cups with emaciated handles. Piped Brazilian music waxing over the airwaves. So tasteful you can almost smell the odour of the Motherland. Although it's not clear which one.

In theory this is the sort of place where Lenin plotted the Russian revolution or Klimt dreamt up eroticism. You don't really get the feeling anything too radical is on the cards here. If anything it has the feel of a place which should feature in a movie involving a neurotic mother of two grown up children who believes she used to be beautiful but no longer is who finds love one last time in life with the unlikely figure of a manic depressive former rock god whose star has now waned and who wiles his days away creating sculptures of celebrated pre-Colombian monuments out of guitar plectrums. Sort of Julian Cope meets Kirsten Scott Thomas. I can picture them now, whispering to each other in a corner, struggling to find a way to say how fascinated they are by each other, the man twisting a plectrum in his hand inside his coat pocket, the woman fearful that her mobile phone will ring even though it's switched off, knowing that people know her mobile phone is never switched off.




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Another Kind of Bar

This is where a whisky nacional costs 25 pesos. Just across the road from the bus station. On a day so grey it could be the 1st day of Autumn, forget about Spring. A small bicho crawls across the table. Might be an ant. Might be something uglier. An old man struggles to stay standing as he tries to read the paper and drink his whisky at the same time. The music is Bryan Adams. The waiter has grey hair which touches his nape and bifocals. He looks like he should work in advertising. Have three children by his first wife. One with the second. A stepchild he gets on with better than his own children. A house that backs on to the river with a half acre lawn and plans for willow trees. Says he doesn't like work and complains when he gets home but he'd be lost without it. The ant crawls across my hand. The waiter stares out of the window. He's got some great ideas for the Persil account. The anti-white. An ant crawling across an iceberg. A fly on a woman's petticoat. The detergent that will annihilate not just stains but your enemies too. Clean up your bank balance. Your conscience. Your carbon footprint. The ideas are endless. They spill out of him. If it wasn't for the customers interrupting his train of thought he'd be rich.

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Cafe, Plaza Independencia

We've started rehearsing in SUA. SUA is the actors' union. Their offices are in the centre of town. One of those old, inordinately high-ceilinged buildings which were constructed by rich families in the late twentieth/ early twenty first centuries. When Montevideo and Buenos Aires would become the new Europe, eclipsing the tawdriness of the States, describing possibilities which Borges alone fulfilled. In the pages of his books.

We rehearse in the ground floors. The embossed wooden doors are the giraffes of the door fauna. So tall and elegant they should be on a catwalk. Three D tiles, designed by the computer graphics merchants of the 1920s adorn the floors. The sound of water and voices permeate. The influence of the Alhambra is there somewhere.

In this space, the work flourishes. My pair of distressed loners find a way to communicate without words. They dance and repeat themselves and make strange noises which betray the feelings which words cannot reveal.




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A writer requires these moments. Those that fall between stools. Which don't belong to anyone. Whose redundance permits vacillation, pedantry, impermanence. Space for the words to slip through.

The wind gets up and the flies, which have only just hatched, prepare to die again.

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12.11.12

winter in las piedras






Las Piedras isn’t much to look at. It’s a twenty minute drive from Montevideo. Named after a ninenteenth century battle. Which only matters if you’re Uruguayan. All in all Las Piedras is a bit like Beckenham or Plaistow, only less glamorous.

“La Sala” is Las Piedras’ only theatre space. It’s situated on a back street which no-one seems to have heard of. The front is brightly painted, but as soon as you go inside you realise this is a space with minimal resources. Basically it’s a shed with a stage at the end. A stage which can only be accessed by a rickety set of steps at the front, unless you want to risk life and limb climbing up from the back. There’s no fixed seating, just an empty auditorium with some bucket chairs stacked in a corner.



It feels a long way from Montevideo, with its urban theatrical know-how. And it feels like a million miles from London. We’re here as the last stage of our one-week only, three-venue tour of Jon Fosse’s complex but beguiling play, Winter. The first performance, on Tuesday was in Montevideo, to a packed audience of actors and theatre buffs. The second, in Libertad, on Thursday, was in the smart theatre of La Casa de La Cultura, with a keen, youthful audience. Now we’re in Las Piedras and we don’t know what to expect.

There’s a woman, Natacha, in the tiny, impromptu café at the front. She seems tired. She’s cleaning up and offers us coffee. Otherwise there’s no-one else. The woman tells us she’s going to have to go in a bit as her three children need looking after. Everything feels ad hoc and underwhelming.

Our company, (myself, Claudia, set and lighting designer, and the actors Carlos and Margarita), decide on how we’re going to use the space. The play consists of four acts, two in a park and two in a hotel. In Montevideo, the staging took place in an old house with a courtyard in the back, which we used for the park. Here we decide to use the stage as the park and make the most of the open plan auditorium by doing the hotel scenes there. The spectators will just have to swivel their seats around between acts.



Another young woman appears. She seems to be in charge of the lights. With Claudia’s assistance, she and Natacha being rigging. We don’t need much. The play has been set up with the aim of being something that can be done in almost any space. Our scenery is a bench, a lantern and a bed. The bed is some wrapping paper which we tape against the wall. The lantern is hung from the ceiling. For a bench we scout around and find two beaten-up brown leather chairs which look like old car seats. Natacha offers to find something to cover them, but they’re perfect as they are. She tells us that they found the chairs in the street and co-opted them.

The story behind the theatre gradually emerges. Natacha and her husband, Seba, took over the space almost ten years ago, wanting to do something in Las Piedras. Over the years they have put on their own shows and welcomed other groups. Companies from across Latin America have come to this unlikely backwater, with workshops hosted by Spaniards, Colombians and anyone who passes by. Last August, they raised sufficient funds to buy the space. Now, bit by bit, they’re doing it up. One of the first things they did was put in an alarm system, having being burgled weeks after finally taking ownership. The three of them work at the theatre for nothing, as a labour of love.




Sebastian appears with their three children who run around for a while before being taken away by their grandfather so Seba and Natacha can watch the show. I ask how many spectators they expect. Natacha is unsure. Anywhere between 2 and 20. At 9pm, the scheduled start, there’s no-one. They tell me not to worry, people are always late. Sure enough, in dribs and drabs, over twenty people appear. We even have to put out extra seats. I give a brief introduction and the show is ready to begin.

Fosse has few supporters in the UK, something he seems philosophical about in interviews. For some reason British audiences have found him dense, impenetrable, gruelling, even though his plays are not overly long. However, around the world he’s revered. I was offered the opportunity to work on the play by Margarita, and the project received the support of the Montevideo equivalent of the Arts Council. It’s part of the reason we’re here now, in far-flung Las Piedras. We’ve dedicated our brief rehearsal schedule not just to working on the play, but also to devising acting techniques which help the actor get under the skin of Fosse’s sparse language and demonstrate the dynamics at work. This process has been facilitated by looking at a few clips from the work of Ostermeier and memories of Nübling’s version of Stephens’ Three Kingdoms. I explain some of this before the show starts, in my pock-marked Spanish. No-one seems phased. It’s accepted here that there’s more than one way to skin a cat. When so much devotion is dedicated to doing theatre for nothing, there’s no reason not to experiment, and this has been one of the joys of working on the project.




It’s also been fruitful with regard to the play. The audience seem hooked from the moment Margarita’s brittle but beautiful woman totters into view, entering via the side door and almost literally crawling up the steps to reach the stage. It’s the third time we’ve done the show and the actors have now got the bit between their teeth. These two bizarre but loveable characters, caught up in the unlikeliest of love affairs, charm the audience with an other-wordly grace and the use of their curious, sometimes comic gestures. Rather than proving to be a downbeat study of degradation, Fosse’s play becomes a story of redemptive love. Perhaps a London audience would question our techniques or the dramaturgy. But a Las Piedras audience is open and generous, happy to go on the journey along with these two flawed characters.

The net result is one of the more remarkable nights I’ve spent in a theatre. Reminding me that theatre is all about transformation. Taking a space which initially looks like a deserted warehouse and, with a text, two actors, some love and a bit of stagecraft, turning it into something else altogether. A hotel, a park, a field of dreams, a space for the old magic to occur.



1.11.12

what was playing at the theatre in moscow 1919

“Opera at the Great Theatre.—"Sadko" by Rimsky-Korsakov and "Samson and Delilah" by Saint-Saens.

Small State Theatre.—"Besheny Dengi" by Ostrovsky and
"Starik" by Gorky.

Moscow Art Theatre.— "The Cricket on the Hearth" by” “Dickens and "The Death of Pazuchin" by Saltykov-Shtchedrin.

Opera. "Selo Stepantchiko" and "Coppellia."

People's Palace.—"Dubrovsky" by Napravnik and "Demon" by Rubinstein.

Zamoskvoretzky Theatre.—"Groza" by Ostrovsky and
"Meshitchane" by Gorky.

Popular Theatre.—" The Miracle of Saint, Anthony" by
Maeterlinck.


Komissarzhevskaya Theatre.—"A Christmas Carol" by
Dickens and "The Accursed Prince" by Remizov.

Korsh Theatre.—"Much Ado about Nothing" by Shakespeare and "Le Misanthrope" and "Georges Dandin" by Moliére.

Dramatic Theatre.—"Alexander I" by Merezhkovsky.

Theatre of Drama and Comedy.— "Little Dorrit" by Dickens and "The King's Barber" by Lunacharsky.”

Excerpt From: Ransome, Arthur. “Russia in 1919.”

9.10.12

Sanjinés on the script

“A script, the spirit and soul of a film, can lay out the means whereby the true and profound dimensions of reality can be conveyed, transforming everyday life, reinventing it, deforming it, changing it, through a process, that is to say art, that goes beyond rational intelligence, that is closer to the power of intuition, so as to bring to us the true nature of things in a marvellous way…”

(Sanjinés 1999: 34)

Solanas & Getino on cinema narrative

“a film that is closed in on itself casts the viewer down into a passive, spectatorial role, with the option of approving or rejecting. A film that transmits experiences and knowledge that are not yet concluded, and that invites its audience to complete them and to critically question them, transforms the viewers into co-authors and live protagonists of the action.” (Solanas and Getino 1973: 163-4)[19]

6.10.12

on sea levels


At the end of the Ice Age, over a 10,000 year period between 17,000 and 7000 years ago -- just before the supposed beginnings of civilization -- 25 million square kilometers of what were then the most habitable lands on earth were flooded by rising sea levels as the ice caps melted. That's a landmass roughly equivalent in size to the whole of South America (17 million sq kms) and the United States (9.6 million sq kms) added together. Its an area almost three times as large as Canada and much larger than China and Europe combined. And it's also an area on which hardly any archaeology has ever been done. How can we be sure, therefore, that archaeology has got the story of the origins of civilization right when so many of the places where our ancestors lived shortly before what we think of as the start of civilization have never been studied by archaeologists at all?
We have to remember that the world was very different just before the end of the Ice Age. Huge expanses of the northern hemisphere that are centres of habitation today were then buried beneath ice caps three kilometres thick and almost as uninhabitable as the surface of the moon. Our ancestors were forced to migrate -- typically to low-lying coastal areas close to fertile river deltas and the resources of the sea. They could not have anticipated that the ice-caps from which they had fled would melt, causing sea-level to rise more than 400 feet, flooding for ever the lowlands on which they had taken refuge.

In many ways it's a quixotic and seemingly hopeless quest. The sea covers 70 per cent of the earth's surface and as recently as 1997 a chain of submerged mountains 1000 miles long and almost 10,000 feet high was discovered on the bottom of the Pacific Ocean. The point is that if things on the scale of underwater mountain ranges can go undetected until so late in this age of high technology then it's obviously not going to be easy to find much smaller targets like flooded cities and monuments.Even at the crude mapping level, it's one of the absurdities of scientific priorities that we now have a better map of the surface of Venus than we do of the 88 million square miles of our own planet's sea-floor.

posted by: bargepoled


quoted from Guardian comments but this would appear to come from Graham Hancock's website:

http://www.grahamhancock.com/archive/underworld/

24.9.12

fosse on fosse

His own plays are written in the New Norwegian, or Nynorsk, language, a synthetic form "which is never really spoken by anyone. It's the same with French and German theatre: their theatrical language is not the way you speak in the streets. In England, theatre is connected to dialect and what level of society you're speaking from. Elsewhere, it's a poetical reflection of the basics of life."


Pero me interesa cómo trabajan los directores con mis textos. Cuanto más fuertes son las voces de los directores, y cuanto menos buscan imponer mi presencia, más puros aparecen mis textos. Es extraño. Uno de los peligros es imponer la voz del autor.

‘We live in a time that comes after the great ideals, since the great ideals have lost their power these days. My plays may reflect that condition, though I don’t mean that their power only comes from the time they come from. You can something. But I can’t quite say what it is. Perhaps it is something to do with a slight feeling of religiousness. Life is bigger than our image of life. I have often experienced that in my plays: there is another presence that suddenly becomes visible in the writing.’

It is not our identity but our interpersonal relationships that steer our lives. And the theatre is the only art form that is able to mirror this social game.

As an individual I can be remarkably intolerant. It is only as an author that I am tolerant – every character is right in his own way.

http://www.fib.no/en/Learn-more/Melancholy-and-drama-in-Jon-Fosses-plays/

2.9.12

tewkesbury mustard


According to the book "Traditional Foods of Britain" by Laura Mason, a type of mustard made in Tewkesbury was so famous in the 1500s that Shakespeare even wrote it into a line in his play Henry IV: "His wit's as thick as Tewkesbury Mustard" - an insult used by character Sir John Falstaff.
Tewkesbury mustard was originally made with ground mustard mixed with horseradish. These were then made into balls and dried for storage, which could then be combined with vinegar or wine to make a paste.
http://www.bbc.co.uk/food/0/19370526

30.8.12

sean penn on tree of life

"The screenplay is the most magnificent one that I've ever read but I couldn't find that same emotion on screen," Penn told Le Figaro. "A clearer and more conventional narrative would have helped the film without, in my opinion, lessening its beauty and its impact. Frankly, I'm still trying to figure out what I'm doing there and what I was supposed to add in that context! What's more, Terry himself never managed to explain it to me clearly."

5.8.12

referencing Sacks' The Anthropologist on Mars

In a case study in that book he was talking about a man suffering from paralysing nostalgia who painted watercolours. He suggested that the impulse to become nostalgic comes from the same part of the psyche as does the impulse to create, and that both creativity and nostalgia are born out of a need to repair things that are broken or to complete things that are interrupted. So we feel nostalgic about the experiences we feel were interrupted and ended too soon and they are also the experiences that might lead us to want to write. And I think all of the plays I’ve written in some sense have kind of been an attempt to complete something or to repair something. And I think as well that all of the plays in that sense have kind of failed, and so you write another play to have another go, or to look at it from a different perspective.

24.7.12

phillip french on the lady vanishes

The screenwriters, Frank Launder and Sidney Gilliat, both much influenced by Hitchcock, had radically reworked the plot and the characters and most significantly had invented the insouciant cricket-loving Englishmen, Charters and Caldicott. As played by Basil Radford and Naunton Wayne, they were to become the greatest comic duo ever created in the British cinema, national archetypes that stamped themselves on several generations of moviegoers. The role played by Wilfred Hyde-White in The Third Man was originally written by Graham Greene for Radford and Wayne, and they were much admired by Harold Pinter. 

http://www.guardian.co.uk/film/filmblog/2012/jul/24/my-favourite-hitchcock-lady-vanishes

22.7.12

dear roland, tan frances

I am interested in language because it wounds or seduces me. ― The Pleasure of the Text

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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself). ― The Pleasure of the Text

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All of a sudden it didn't bother me not being modern.

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Incoherence seems to me preferable to a distorting order.

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Le langage est une peau: je frotte mon langage contre l'autre.

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Where there is meaning, there is paradigm, and where there is paradigm (opposition), there is meaning . . . elliptically put: meaning rests on conflict (the choice of one term against another), and all conflict is generative of meaning: to choose one and refuse the other is always a sacrifice made to meaning, to produce meaning, to offer it to be consumed. ― The Neutral: Lecture Course at the College de France

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I am either lacerated or ill at ease
and occasionally subject to gusts of life ― Mourning Diary

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Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die. ― Writing Degree Zero

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virginia's flights of fancy

Woolf also wrote about life in London that in the "street outside, one catches a word in passing and from a chance phrase fabricates a lifetime". From these overheard conversations, she suggested, it was possible to "penetrate a little way, far enough to give oneself the illusion that one is not tethered to a single mind, but can put on briefly for a few minutes the bodies and minds of others".

21.7.12

secret gift of reading 2

The act of reading is always an act of infidelity.

secret gifts of reading

Those periods in life when you can't find the energy, time or headspace to read books are tiring. The act of engaging with another mind over a number of pages is strangely calming. To be denied that means one flounders around in one's own mind, dealing with nothing but one's own thoughts. And this is tiring.

20.7.12

Guzmán y su mochilla

"Each of us carries a backpack on our shoulders; this bag cannot be removed. One carries it one's whole life. In this bag one carries a lot of important things. For example: the memory of your mother, your birthplace, the first day at high school, your first love, your first lovesickness. All this is never forgotten.

"That is the true homeland – somewhere you live during the first 20 years of your life – and that accompanies you until death. It is not necessary to be in a particular country to feel Chilean, Peruvian and Argentinian. One's homeland is carried in the depths of one's heart."

Patricio Guzmán

URUGUAY 1924-30 - courtesy Jonathan Wilson @ Guardian


URUGUAY 1924-30

1924 Olympic final Colombes, Paris
3-0 v Switzerland (Petrone, Cea, Romano)
Mazali; Nasazzi (c), Arispe; Andrade, Vidal, Ghierra; Urdinarán, Scarone, Petrone, Cea, Romano
1928 Olympic final Olympisch, Amsterdam
1-1 v Argentina (Petrone; Ferreyra)
Mazali; Nasazzi (c), Arispe; Andrade, Fernández, Gestido; Urdinarán, Castro, Petrone, Cea, Campolo
1928 Olympic final replay Olympisch, Amsterdam: 2-1 v Argentina (Figueroa, Scarone; Monti)
Mazali; Nasazzi (c), Arispe; Andrade, Piriz, Gestido; Arremon, Scarone, Borjas, Cea, Figueroa
1930 World Cup final Centenario, Montevideo: 4-2 v Argentina (Dorado, Cea, Iriarte, Castro; Peucelle, Stabile)
Ballestero; Mascheroni, Nasazzi (c); Andrade, Fernández, Gestido; Dorado, Scarone, Castro, Cea, Iriarte
Uruguay's success at the Paris Olympics is one of the great romantic tales. This was, first and foremost, a team of workers, including, among other professions, a meat-packer, a marble-cutter, a grocer and an ice salesman. They travelled to Europe in steerage and played to pay for their board, winning nine friendlies in Spain before they even reached France. Uruguay were the first Latin American side to tour Europe, but they attracted little attention – at least initially – only around 2,000 turning up to watch them eviscerate Yugoslavia 7-0 in their opening game in the Olympics.
Word soon got around. "Game after game," the poet Eduardo Galeano wrote, "the crowd jostled to see those men, slippery as squirrels, who played chess with a ball. The English squad had perfected the long pass and the high ball but these disinherited children from far-off America didn't walk in their father's footsteps. They chose to invent a game of close passes directly to the foot, with lightning changes in rhythm and high-speed dribbling."
In four games they scored 17 goals and conceded just two in their four matches, beating a Switzerland side co-managed by the remarkable trio of Jimmy Hogan, Teddy Duckworth and Dori Kurschner 3-0 in the final. Uruguay, wrote Gabriel Hanot, the editor of L'Equipe, showed "marvellous virtuosity in receiving the ball, controlling it and using it. They created a beautiful football, elegant but at the same time varied, rapid, powerful and effective". And British football? "It is like comparing Arab thoroughbreds to farm horses."
Argentina, who hadn't travelled to France, were furious and, on Uruguay's return, challenged them to a game, winning 3-2 on aggregate after crowd trouble curtailed the second leg in Buenos Aires. When they met in the finals of the 1928 Olympics and the 1940 World Cup, though, Uruguay emerged triumphant. "Argentina," wrote the great Italian journalist Gianni Brera, "play football with a lot of imagination and elegance, but technical superiority cannot compensate for the abandonment of tactics. Between the two Rioplatense national teams, the ants are the Uruguayans, the cicadas are the Argentinians."

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