The music was the code. It was the transliteration of the style. It was not giving a bollocks in a thoroughly musical manner. It was fuck this and fuck that and frankly fuck you. A rockety life came with the territory. You didn’t have to be Irish. Their England had been influenced by that Ireland of the 50’s. Behan, Kavanagh, O’Brien. Roaring Boys all. Drunken, rackety, genius bores. And Shane could be as drunk and boring and rackety or he could write as beautifully as any of them. Bob Geldof, Waiting for Herb, 2004.
Night Crossing
As the ferry lurched out of Dublin port we reminisced on crossings of yore. In response to regretful talk about the withdrawal of the service out of Dun Laoghaire – which at least had a rail connection – Shane MacGowan recalled, with typical belligerence, “Dun Laoghaire was there before a fucking DART line,” before hissing reassuring laughter.
He then spoke wistfully of his grandfather telling him about how ‘lower order’ passengers would have to share decks with the livestock on board. It seemed a very different world to a Stena Lounge bereft of passengers on this night crossing, but at least the wine was complimentary, and Tina didn’t mind a fewmessers on board.
Indeed, the aesthetic, or anti-aesthetic, of the Pogues was a throwback to a bygone Ireland – and Irish – often scorned by ‘respectable’ people. In particular, those compelled by economic circumstances to take up jobs ‘across the water’.
Shane MacGowan was born in Tunbridge Wells in Kent in 1957 to Irish immigrant parents, but spent his early youth living with maternal aunts and uncles in Puckane, Co. Tipperary. Formative teenage years were spent in 1970s London.
For the emerging poet, rural Ireland – for all its faults – seemed a fairy realm, enlivened by song and alcoholic excess, compared to the industrial decay and entrenched class system of England at that time. Having dabbled in punk with The Nipple Erectors he returned to his musical roots, forming the Pogues (from the Irish phrase póg mo thóin, meaning ‘kiss my arse’) in 1982.
He previously described the ‘Irish look’ the band self-consciously adopted:
The suits, black suits with white shirts which we wore, were Brendan Behan uniform and that’s why we chose them, not to look smart, but to look as if we could have come from any decade … We could have looked like people from the fifties, sixties, or seventies … we just looked like classic Paddies.[i]
Extended Fairground
As the night wore on, in particularly good cheer, Shane began humming a medley, beginning with the ‘Rocky Road to Dublin’, “When off Holyhead wished meself was dead / Or better far instead”, culminating in a vision of Irish inclusivity – at least before the men in the mohair suits moved in – at the ‘Galway Races’:
There were half a million people there
Of all denominations
The Catholic, the Protestant, the Jew,
The Presbyterian
Yet not animosity
No matter what the persuasion
But failte hospitality
Inducing fresh acquaintance
With me wack fol do fol
The diddle idle day
This evocation of carnival wherein social hierarchies disappear in joyful Bacchanalia helps understand what Shane MacGowan engendered with the Pogues during the 1980s: a two-fingered reaction to Thatcherism that helped define our Irish identity.
As the cultural critic Joe Cleary put it in Outrageous Fortune: Capital and Culture in Modern Ireland (Field Day, 2007) in the music of the Pogues: ‘The [Irish] nation is imagined as a kind of extended fairground.’[ii]
He adds, however, that with the Pogues: ‘this version of carnival is never allowed to become cosily celebratory because it is always shot through with sentiments of anger and aggression, sometimes strident, sometimes more muted.’[iii]
Hooliganism
The word hooligan derives from the surname of a fictional rowdy Irish family in a music-hall song from the 1890s. Later, applied to the antics of English football fans, steeped in post-imperial hubris, it took on angry connotations.
But the Pogues were all about the hoolie – a big noisy party – and unashamedly “Up the RA”, when it was still risqué to be so. Their song ‘Streets of Sorrow / Birmingham Six ‘refers to the plight of the Birmingham Six and Guilford Four and was censored by the BBC.
Their old school, rumbunctious hooliganism, fused elements of punk and traditional Irish music with the incantations that arouse from Shane MacGowan’s errant soul.
As Cleary puts it the Pogues, ‘merged the ‘modernist’- and ‘avant-garde’-coded aesthetics of punk with the ‘romantically’-coded idioms of the Irish musical forms.’
He argues:
For the Pogues to yoke together … the avant-garde future-orientated metropolitan aesthetics of punk, with the retro aesthetics of céilí and the broadly political edginess of the pub-ballad scene was an inspired act not only of musical synthesis but of semantic sabotage as well.[iv]
Alongside self-destructive excess there was something serious going on, ‘saving folk from the folkies’ as Elvis Costello put it[v], while asserting a brash, yet accommodating Irish identity – after all, many of the band were not even Irish – notwithstanding an unashamed approval of violent Republicanism, based on a long historical memory of famine, torture and resistance.
The success of the Pogues and Shane MacGowan – who transcended traditional Irish music to become a rockstar celebrity – may go some way to explaining an enduring, relative openness among Irish people to new cultural encounters – even multiculturalism – at least by comparison with erstwhile colonisers.
Like it or not, any witness to an average Saturday night in Dublin can testify to the presence of a carnival of sexual deviancy, donnybrooks and nonsensical pranks. This has become a generally inclusive ritual for Irish self-expression.
In The Dawn of Everything: A New History of Humanity (London, 2021), David Graeber and David Wengrow suggest ‘[t]he really powerful ritual moments are those of collective chaos, effervescence, liminality or creative play, out of which new social forms can come into the world.’[vi] That just about sums up the Pogues’ contribution to Irish culture.
After the Pogues, along with their precursors and followers, we would wear a distinctively wild Irishness as a badge of honour, invite everyone to the party, then regale each other with far-fetched stories of nights that should have ended sooner, at least before the cops turned up, when the fun really started.
The Big Red Fun Bus
With the Irish Sea bathed in pale moonlight on a blissfully calm night, conversation turned to Westerns. With a glint in his eye Shane reeled off his favourites – ‘The Life and Times of Judge Roy Beans’ (1972), ‘The Man Who Shot Liberty Valance’ (1962), “with Jimmy Stewart and John Wayne competing for the same girl”, and ‘The Searchers’ (1956).
But fittingly for a bard whose songs are steeped in tales of underdogs – like the navigators who ‘died in their hundreds with no sign to mark where / Save the brass in the pocket of the entrepreneur’ – his favourite was the more recent ‘Geronimo: An American Legend’ (1993), in which, unusually, a Native American victim is the hero.
By now the rest of our posse seemed to be asleep – it must have been passed 4am – but Shane’s mind was racing in this liminal phase. The high life of London beckoned and the rockstar in him was growing giddy.
We had another Brendan to thank for the drive to London. He and Shane’s full-time carer Elizabeth provide vital assistance and crucially, a sense of humour, in support of Victoria, Shane’s loving wife.
Once installed in the hotel room there was a chance for more songs, including a few Percy French ditties. Then an overlooked classic from his underrated period with the Popes: a homage to the nineteenth century poet James Clarence Mangan: ‘The Snake with Eyes of Garnett.’
It begins fittingly:
Last night as I lay dreaming
My way across the sea
James Mangan brought me comfort
With laudnum and poitin
The vision moves to the scene of a public execution being held on Stephen’s Green in 1819, before another crossing
If you miss me on the harbour
For the boat, it leaves at three
Take this snake with eyes of garnet
My mother gave to me!
The snake is a symbol of renewal, and for Shane perhaps the republican ideal. It also reveals his engagement with the literary canon. After all, he did once earn a scholarship to the exclusive Westminster public school.
He chimed in:
This snake cannot be captured
This snake cannot be tied
This snake cannot be tortured, or
Hung or crucified
It came down through the ages
It belongs to you and me
So pass it on and pass it on
‘Till all mankind is free
Contrary to the association of the snake with deceit and temptation – a phallic devil – according to Chevalier and Gheerbant’s Dictionary of Symbols, the serpent is ‘a continuation of the infinite materialization which is none other than primordial formlessness, the storehouse of latency which underlies the manifest world.’
It is an archetype representing ‘an “Old God”, the first god to be found at the start of all cosmogenesis, before religions of the spirit dethroned him.’[vii]
This becomes the moving spirit of another vagabond poet, James Clarence Mangan who as a Young Irelander renews the spirt of the nation, suffers and dies, apparently of malnutrition at the height of a cholera epidemic, but re-appears in spectral form.
He swung, his face went purple
A roar came from the crowd
But Mangan laughed and pushed me
And we got back on the cloud
He dropped me off in London
Back in this dying land
But my eyes were filled with wonder
At the ring still in my hand
‘this dying land’
Arriving in central London I am struck by the imperial grandeur. The scale and ambition of the architecture makes Dublin seem like a provincial town, but there’s a cold reserve that used to send a shiver down my spine when I lived here.
So many buildings appear uninhabited; unimaginably grand hotels seem more like fortresses with concierge-sentries posted outside to keep the hoi poloi at bay; uttering “can I help you sir,” with a snarl. We’d have to make our own fun.
The launch of Shane MacGowans’s art exhibition ‘The Eternal Buzz and the Crock of Gold’ took place at the boutique Andipa gallery in Knightsbridge, a stone’s throw from Harrods, where his art resides alongside that of Banksy’s.
Walking in I pass Bob Geldof, an unlikely presence, given his aversion to Irish nationalism, but he has credited Shane and the Pogues with awakening an interest in traditional Irish musical forms that he had previously disparaged.
In the relatively narrow confines of the gallery, with the king sitting contentedly on his throne, a carnival atmosphere asserts itself. He had escaped from all this, but that night he was enjoying a return to the crazy celebrity madness, which in England is built on a bedrock of aristocracy.
The champagne flowed, as minor celebrities converged – “he’s Liam Gallagher’s brother you know” – when the ocean parted before the eternal beauty of Kate Moss. A face to launch a thousand camera phones, and sell a few paintings.
Then on to Soho, where the weather at least remained dry. The police were even called. It took seven of them to take old Tom down, or so they say: never let the truth get in the way of a good yearn…
Critics
Acording to Joe Cleary:
Ever since the Great Famine and the Devotional Revolution, and especially when they came to power after the establishment of the Free State, the traditionalists had been concerned to make Irish culture more refined and respectable by filtering out, as ‘inauthentic’ or ‘degraded’, all its more licentious and anarchic or uncouth elements – those very elements that were to make such a whoopingly triumphant return of the repressed in the Pogues’ music.[viii]
In many respects, the unapologetic Shane MacGowan remains an embarrassment to the Official Ireland narrative, now principally articulated in the Irish Times, which inculcates a new breed of conformity that brooks no divergence.
Previously, Irish Times journalist Joe Breen suggested that his distaste for the Pogues resembled the attitude of contemporary African-Americans who preferred contemporary music to a musical tradition obsessed with the miseries of slavery and Jim Crow.
Breen’s reference to American culture betrays the apparent objective of many Irish neoliberal cheerleaders to establish a deracinated Americana in Hibernia, a tax haven for multinationals where the atmosphere of the carnival is strictly commodified. Here, Irish history is reduced to the struggle of modernisers against religious authority – with nothing in between – and where celebration of the national struggle is associated with Populism, or even an exclusive ‘white’ nationalism.
The art of Shane MacGowan and the Pogues offer a rowdy alternative to a creeping homogenisation. He endures, seemingly just to spite them, and even in the dying land he can still revive the spirit of the carnival.
The theme of ‘late art’ was recently explored by the art historian Carel Blotkamp in The End: Artists’ Late and Last Works(2019) focusing on the visual arts, but in an age nonspecific way.
Raphael’s ‘Transfiguration’ is central to the argument of the book. After Raphael’s death, the author notes his body was laid out beneath the painting in his studio. Vasari tells us that ‘the sight of his dead body and this living painting filled the soul of everyone looking on with grief.’
Raphael died aged just over thirty years of age. Picasso in a much later blasphemous parody had Raphael fucking. More on Picasso and indeed fucking later. This is an article about The Rolling Stones after all.
More representative of late art in literary terms is Thomas Mann’s Doctor Faustus 1947, which was written when he was nearly eighty years of age, and was his second to last work. The last being Felix Krull, both of which were discussed in a previous article for Cassandra Voices. In these works his style loosens and is fresher than his earlier work. I attribute this revitalisation to his hatred of fascism and fakery.
Both of these books were written in old age when the light was dimming, which is remarkable. Great art arrived against the odds, with physical and presumably mental powers failing. Like Michelangelo finishing off the frescoes in the Sistine Chapel with the Last Judgment or even more so the late sculptures.
Picasso approaching ninety, as the aforementioned book references, famously started working faster and faster, painting in a sketch-like figurative way: parodies, exhumations of the western tradition such as by Valazquez Los Meninas; in contextual or parodic form; painting as ideas with the clock against him. He famously said in this respect: ‘I have less and less time, and yet I have more and more to say.’
Well, what a drag it is getting old.
heatfield with Crows — oil on canvas 101×50 cm Auvers june 1890.
More commonly…
But Mann and Picasso are uncommon. More commonly, artists repeat earlier tropes or descend into sentimentality, commercial opportunism or simply kitsch as they age. The late works of Marc Chagall and Salvador Dalí fall into these categories. Opera Designs or endless recycled Kitsch is very evident in the Dali Museum in his hometown of Figures.
The phrase ‘late style’ is also relevant in this context and is, in fact, culled from Theodor Adorno’s 1937 essay on Beethoven. Adorno – and, more recently, Edward Said, whose own last book was on late style – both suggest in a distinct echo of Picassos observations that regularity, precision, and tidiness no longer matter when an artist is faced with death. The writing and painting become more scabrous, irreverent with a lightness and incompleteness but also harrowed.
One thinks above all else of the finest achievement in the history of art the late paintings of Rembrandt, where the artist is merciless in self-portrait particularly his damaged and aged eyes. Though the formal precision is, remarkably, retained. Another notable achievement is in the late work of Goya, his Black Paintings In particular. These are visceral images of human torture, misery, cannibalism, and insanity.
Adorno wrote that late art or style ‘does not resemble the kind one finds in fruit. They are not round, but furrowed, even ravaged.’
Many great artists of course die young and without the necessary anticipation of doom. Egon Schiele tragically dies in the ‘Spanish’ Flu Pandemic of 1919-1920. The Romantic poet Percy Bysshe Shelley drowned after a boat accident. So, the suddenness of a departure does not affect the art for good or ill.
Van Gogh hadn’t reached the age of forty, when he died, but the Wheatfield with Crows is one of his greatest works, the crows above providing a doom-laden portent. In contrast, the truly writer of The Great Gatsby F. Scott Fitzgerald was dead by forty-four having been dismissed as a burn out and a has been. He had felt compelled to hack for money, with the Pat Hobby stories. As he said there are no second acts in American life, although Donal Trump might disagree!
Some artists try and go out on top before retreating into isolation. Neither Harper Lee nor the reclusive J. D. Salinger published much after To Kill Mockingbird and The Catcher on the Rye.
We might tentatively say that generally the best work comes first or close to first, before decline sets in, often with coincident celebrity and accolades. The philosopherJürgen Habermasonce remarked that when they shower you with awards you know you are finished. Stressed vines make the best grapes by all accounts.
In this respect The Nobel Prize is often the kiss of death for creativity. Exceptions to that rule are of course Gabriel Marquez. He wrote as good if not a greater novel than One Hundred Years of Solitude (1967) after the award with Love in The Time of Cholera (1985). And then there is the incomparable Samuel Beckett, about whom more later.
Kurosawa the great Japanese film director was effectively persecuted by the Japanese state by being snubbed at awards ceremony. Suicide attempt followed, and but for the intervention of Steven Spielberg and George Lucas he would not have gone on to produce a work as incandescently brilliant as Ran, his Samurai adaption of King Lear, which is one of the greatest films of all time that he completed at nearly eighty years of age.
Better to burn out…
In Rock music there is a discernible trend in late art achievements. Leonard Cohen’s late albums include Old Ideas (2012), which includes the sublime song, or poem, ‘Going Home’. And Bob Dylan’s Rough and Rowdy Ways (2020) is a continuous flow of genius.
But both Dylan and Cohen were geniuses and not a bunch of blues-thieving, decadent often priapic monsters with a not undeserved reputation for all sorts of destruction of many of those around them.
Giving them their begrudging due, the shows are of course truly spectacular, as anyone who had the privilege of witnessing them in Glastonbury would attest.
The youthful audience, and some bemused older curiosities, largely came to bury Caeser, or Satan, but Sir Michael will not be buried easily and strode on stage in red barbed devilish gown, 28-inch waste and barnstormed, not least with sympathy for the devil.
Well yes, a tour band par excellence re-threading their hits from the 60’s and early 70’s and producing nothing of note in over two decades of self-enrichment. Bigger and Bigger Bangs of the same thing. Outrageously reliving their satanic rebelliousness. Funding Keith Richards drugs, albeit no longer indulged in apparently, and Mr Jagger’s endless libido – growing old as disgracefully as possible. Aged eighty, he is married to a woman almost fifty years younger. The lucky sod.
But the artistic community could rest assured there would be nothing further. No further trouble.
And then it landed ‘Angry’, the opening song of their recent studio album, Hackney Diamonds, a better starter I think than ‘Start Me Up’ and a better song than ‘Shattered’. Propulsive not 1970’s but 60’s revitalised and pared down. And Mr J. certainly sounds angry.
And so, three well preserved and ostensibly vigorous elderly gentlemen in casual costume get in touch with their north London roots and step fearlessly into Hackney, which of course they never hailed from, to introduce a brilliantly named album Hackney Diamonds, with a glorious smash and grab cover.
By any reckoning it ought to have been a re-thread or a bombastic disaster. But is simply a great rock n’ roll album. In my view the best pure rock and roll album since The Clash’s London Calling with a not to dissimilar mining of styles. It even includes a punk song with Paul McCartney on bass, who seems like he was having a ball with the band he had recently described asa Blues cover band. But what a cover band!
Burst of Blues Energy
The bursts of blues energy with at most one longueur is sustained through its forty-five propulsive minutes. The best comparison in terms of form and antecedents is Exile on Main Street, with the odd ballad mitigating the relentless noise. There are many great or near great songs. There is a rose in Hackney and not just Spanish Harlem. OMG.
In ‘Sweet Smells of Heaven’ Jagger sounds as great as in ‘You Can’t Always Get Want’ and ‘Angie’. In short it is one of the greatest ever Rolling Stones songs. Whether it ranks in the top ten is a matter for debate. In my view very close to the absolute pantheon Sympathy For the Devil.
Notably Keith Richard’s is in flying form. I wonder is arthritis loosening his playing style?
Geoff Dyer has recently published a book called The Last Days of Roger Federer and it is not intrinsically about Federer though he was also an artist but is about the dying light augmenting the enormity of the achievement.
Sir Michael who prompted the album to stir the wild beasts from their slumber now suggest they are three quarters way through a new album. A sense of enormous anticipation should now prevail. One hopes though it is not a set of discards and out takes.
Hackney Diamonds would be an incomparable way to put a full stop, but what if the next album is even better? After all, The Beatles in their pomp followed Revolver with Sgt. Pepper’s Lonely Hearts Club Band, but that is now almost fifty years ago. Let us be clear Hackney Diamonds is the greatest stones album in forty years.
They have ascended the charts in Britain and the USA In a way unprecedented since their heyday. And methinks Mr Richards will not be thinking about the money. One senses that old rubber lips thinks the best is yet to come and will force them back into the studios. No pressure then lads.
No beast so fierce but knows some touch of pity, but I know none, therefore am no beast. William Shakespeare, Richard III
I anticipated the takeover of the vast majority of the publishing industry by fourth or fifth-wave feminism. It has been in the mix for five years or so, and it dominates this arena; and not just mainstream publishing, but most alternative avenues too, as far as I can see.
These mindsets want fluffiness. Cats. And Tote bags with witty slogans in an interesting font. There are writers whom they laud and publish; and their work, at best, to quote an agricultural analogy (Not just Beckett), is fair to middling.
Writers are reaffirmed by their agents et al and subsequently develop and own this logic of, ‘I am being published; therefore, I am good.’ But by whose metric? Your own? Qualitative? Profit and dross.
Many seem more interested in being revered as ‘a writer’ than creating Art. This is the cult of personality – a celebrity projection of the ultimate performer, different from the norm. They believe they are special. The core issue is, I believe, that the celebrity culture now at work in the book industry places an over-emphasis on persona and mythos as persona – a literary, bookish cult – whether it be hyped-up media or others, at the behest of Art.
One is reminded of the lines from Bukowski’s The Genuis of the Crowd, ‘Beware those who seek constant crowds; they are nothing alone’; and ‘Not being able to create Art, they will not understand Art’.
Peering into some of these marketed texts, I do not see a lot of literary merit among the prose. Pallid, wane, and an emotionally-led, safe register is my takeaway. More like Young Adult books than adult fiction. The age of banality is upon us.
Charles Bukowski
Every sentence should fight for its place…
I suspect that this is part of a wider, individualistic desire, for fame, fortune, and glory. To be looked upon and admired. Put on a pedestal. To have the fine robes of a writer bestowed upon and wrapped around you. Speculated upon in your sartorial elegance.
I hear them on the radio and see them on the TV, these writers of ephemera, here one day, gone the next. Until the next one comes along.
It’s a Warholian, factory process of endless, emotionally-led drones pumping out emotionally-led, dry, grey mush. The sentences are short and adverbs are plentiful, John loves Trudie. Trudie really loathes John. Fred absolutely dislikes Stewart. Or, DCI Kelly DI Slater, investigates…
These novels are tumbling dice and have little or no truck with pushing the literary envelope. They lie prone on the racks and shelves in stores and in the minds of their reader. Would you not rather have something that inspires you to shout from the rooftops? I relate to this! This sentence here is bloody brilliant! Look, the prose is literally leaping off the page. It burns!
The reality that they fail to recognise this is disheartening.
When was the last time Middlemarch was talked about? Dickens? Sylvia Plath’s The Bell Jar?
To quote Howard Jacobson, ‘The problem isn’t with the novel, it is with the reader.’ In an age of frenetic online activity and electronic meandering there is a distinct lack of originality. A absence of creative juice. And a dearth of creative reading.
Challenging books…
Aspersions cast on, for example, James Joyce’s Ulysses, which many have not read, are immature, and rooted in a jealousy that the text holds a higher position in the literary pantheon than their offering(s). Disingenuous assaults are derived from manifest insecurity.
They scoff at bigger, therefore harder, and difficult – but they would not come it and say it – literary texts. Due to the social embarrassment that this may cause and what might be inferred. They do not like to be embarrassed socially. This has its roots in a more organic state of grace.
They do not desire to read ‘challenging’ books, preferring a certain reading homogeneity and inevitable selective stasis. They do not care for a rampant display of maleness. The kind of masculinity on show, say, in Henry Miller’s Tropic of Cancer is scorned and discredited. Man as Dog is the ravenously portrayed symbolism.
But freedom of expression should be allowed. Even in Miller’s canine-like, Parisian existence. If a man is de-fanged, de-barked, and thus emasculated, where is he to go? To be banished into exile? To become prohibited? Becoming chthonic beings like the Morlocks in H.G. Wells’s The Time Machine. Subterranean, knuckle-draggers whose jobs(s) are to fertilise and provide financial support. If that is even the case in these attitudes.
We are in an interesting meridian. I wonder would Tropic of Cancer be published today?
The demographic target for the marketers is predominately female, but it does not commandeer in totality and speak for all things literary.
Their mandate is revenue – at all costs. No matter if the book is well-written. If it has a plot, narration or thought-provoking, relatable characters. They are only interested in appeasing the god of Profit.
James Joyce 1882-1941.
Art and Persona
Entering a Joycean reverie of Leopold Bloom allowing ‘his bowels to ease themselves quietly as he read, reading still patiently that slight constipation of yesterday quite gone. Hope it’s not too big bring on piles again.’
In the proverbial outhouse, we recognises our shit stinks, like everyone else’s. Are you a writer at all times? In bed, a writer? Asleep, a writer? At stool a writer? Walking down the street?
I have to inform you that, you are not a cut above. Your Art should be your Art and you should stay the hell out of it, if it’s Art you are creating. You deny your organic, biological self but continually project the ideal that you are indeed a writer, and all must lay down prostrate before you and worship at your altar.
That is the central tenet here, the separation of one’s Art and persona; both are not one and the same. They are mutually exclusive. They should be de-compartmentalised. Art is an exposition; a creative process and it emerges predominantly from, boffins say, the right hemisphereof the brain.
It comes down onto the page and then it’s gone; albeit it remains as text. Except the marketers wants to conflate the two. Look at this Kurtz-like, mysterious figure, look at the chatter around them. If there is none, we will create it ourselves.
Beat those jungle rhythms. Not letting the work speak for itself. The vehicle of the plot. An ensemble cast of characters. Dialogue. You know, the three basics of the novel. The holy trinity.
Writing as surrogacy: a biological denial forfeited into writing projects and projections of the writing, literary mother who gives birth to ingenuity and creativity.
There is a certain emotional naiveté at work here.
Being noted as special is an inherent part of being desired to be seen as a writer. It locks into an awakening narcissism so succinctly.
Gatekeepers
As agents, they behave like Amazonian women and gatekeepers. If you do not play into their modal form(s), you will be truncated below the waist and stung with arrows.
I recently undertook a couple of counselling courses. On a Level 4 Diploma, in-house, I was the only male left in a classroom of a dozen or so females including the two female tutors. One of them, I believe, was a feminist and was going to put the squeeze to get rid of me, a male. She succeeded.
I believe there are other feminist cabals that spring up in offices and colleges and publishing houses, and if you don’t like cats and cutesy stuff, and you’re a manly man, with a hint of aggression, possibly, towards them, or unconsciously dominate with your masculinity, in any way, you are a danger. And will be ostracised.
It’s a form of sexism of course – in, on, their own terms. They circle their wagons. They have vested interests – their own cultish mentalities. Dance by firelight.
But what they forget is that if it were not for men, as writer and academic, Camille Paglia relayed: ‘If civilization had been left in female hands, we would still be living in grass huts.’
Paglia had it down too when she relayed that a lot of angry women who had been hurt by men were now in positions of power wanted revenge, and to make all men suffer because of their experiences.
A bit like Estella and Miss Havisham at the beginning of Great Expectations, who emasculate Pip and desire to see him become passive. They want masculinity to be humiliated, suffer, and become truncated below the belt. They want men to be their inferiors, servants, and in the end, inert eunuchs.
What a cadre of selfishness, rank hypocrisy, and flaccid tribalism.
This Jungian projection of man in the female mind as an unconscious symbol of taker, abuser, and destroyer is a possibility.
In Newton’s Third Law of Motion: for every action (force) in nature there is an equal and opposite reaction. If object A exerts a force on object B, object B also exerts an equal and opposite force on object A. In other words, forces result from interactions.
Men work in the dirt. They mix concrete. They lift and lay blocks. They raise buildings. They work on boats. Rigs. Implement dangerous jobs. Men write too. And some men write, craft, brilliantly. They should be respected. Not all men are dangerous predators. It is a dual thing. Let’s value compromise, equality and respect.
Born in 1875, like many in his era Thomas Mann was initially a Great German Conservative, but by the outbreak of World War II he was making anti-Nazi speeches for the BBC.
Mann won the Nobel Prize in 1929 for his chronicles of German families in Buddenbrooks (1901), and for his bildungsromanThe Magic Mountain (1924), along with a number of well received novellas and short stories. Among his later publications, the novella Death in Venice (1929) is a terrific book, expressing his repressed same-sex attraction; it is a worthy expression of a hyper-civilised, fin de siècle aesthetic intelligence. The film by Luchino Visconti with Dirk Bogarde, though laboured, is also a masterpiece. It includes the famous adagio by Mahler, with whom Mann was acquainted.
Mann seems to have known almost everyone who was anyone in his time, and was very catholic in his tastes and company. He remains, however, a crucial bridge between the tradition of nineteenth century letters and the twentieth century. Indeed, the earlier novels referenced above may appear at times like caricatures of that tradition.But great aestheticism does not necessarily equate to human greatness.
As alluded to, Mann was a supporter of Kaiser Wilhelm during the First World War, and a romantic German nationalist with a lifelong fascination with Nietzsche. He lived for most of his adult life in Munich and his lifestyle consisted of work, an eclectic set of friends and a digression into unconventional Germanic behaviour. He was married to a Jewish woman, Katia, who he adored, notwithstanding a suppressed homosexuality or bisexuality: they had six children.
As a novelist, not only Kafka but also Musil and arguably Broch, are greater twentieth century writers of fiction or prose within the Germanic tradition. But greatness also involves moral influence. Although, there was little until the 1930s to disclose his abundant moral courage, it was almost unparalleled among great writers even including Albert Camus. The stakes were higher.
Colm Toibin’s recently published zeitgeist book on Thomas Mann The Magician (2021) reveals at one level a set of character traits crucial to how he achieved greatness. He was innately Protestant, despite a Brazilian, Catholic mother, modest and hard working. Commenting on his own prose style, Mann said it was ponderous, ceremonious, and civilised. This he said was all that fascists hate.
And boy did he hate them. He hated in fact all forms of human fakeness, lies, deceptions and misinformation; an inclination very evident in the early novel Mario the Magician (1929). He also hated a lack of order and fecklessness, which was apparent in his attitude towards his brother Heinrich. And he hated barbarism.
Thus, the arch conservative of Lubeck, in response to the rise of fascism and barbarism, changed his colour. Like Fernando Pessoa in Portugal, the caterpillar became a butterfly.
The change was gradual. First, he had supported the Social Democrats in the Weimar government, writing treatises on his conversion to socialism as the Nazis emerged triumphant over the course of the 1920s and early 1930s.
Mann simply could not deal with Nazis. At an implicit level, it might have been simply a matter of bourgeois taste, as he had an impeccable personal and aesthetic sensibility and was cosmopolitan but not decadent in his outlook.
In American exile, where he was suspected of harbouring communist views, he was asked about his views on the avowedly communist Bertold Brecht. He said he did not like his writing, but that if he liked a communist writer he would have no problem saying so.
Book burning in Berlin, 10 May 1933.
Exile
On holiday in 1933 he was advised not to return to Germany after many of his books had been burned in the modern day auto–da–fé. It is noticeable that it was mostly the books of Jews and communists that were burnt, but the German Student’s Union, spurred on by Goebbels, also burned Mann’s work.
In Berlin, some 40,000 people heard Joseph Goebbels deliver an address saying:
No to decadence and moral corruption … The future German man will not just be a man of books, but a man of character. It is to this end that we want to educate you. … And thus you do well in this midnight hour to commit to the flames the evil spirit of the past.
Mann was excommunicated as a citizen in 1936. His life was threatened, and he was a moving target for the fascists for the rest of his life. Thus he left Germany when he was almost sixty, and apart from some brief post war visits never returned to reside there again.
One wonders what would have happened if he had been more compliant. He was not Jewish and only a socialist at a stretch. It is possible that they would have showered him with hollow accolades if he had shown more deference. But unlike Martin Heidegger, he did not succumb, and thereafter in exile in Switzerland and America he became a more complete human being, which is reflected in the marked improvement in the quality of the prose thereafter.
His wartime broadcast relayed on the BBC might be regarded as a kind of inverse Lord Haw Haw. On one of his eight-minute broadcasts from 1940 Mann condemned Hitler and his ‘paladins’ as crude philistines completely out of touch with European culture.
In another noted speech, he said: ‘The war is horrible, but it has the advantage of keeping Hitler from making speeches about culture.’
‘Crude Philistines’…
At the end of the war, he refused to allow his nation off the hook. They had turned mad; it was collective hysteria and even the 1945 atrocities documented so well in Anthony Beevor’s Berlin: the Downfall 1945 (2002) were in context to him condonable:
Those, whose world became grey a long time ago when they realized what mountains of hate towered over Germany; those, who a long time ago imagined during sleepless nights how terrible would be the revenge on Germany for the inhuman deeds of the Nazis, cannot help but view with wretchedness all that is being done to Germans by the Russians, Poles, or Czechs as nothing other than a mechanical and inevitable reaction to the crimes that the people have committed as a nation, in which unfortunately individual justice, or the guilt or innocence of the individual, can play no part.
Members of the Hollywood Ten and their families in 1950, protesting the impending incarceration of the ten.
Unamerican Activities…
Extremism cuts both ways. In exile he was forced to testify before the House for unamerican activities as a suspected communist. Here is how he responded:
As an American citizen of German birth, I finally testify that I am painfully familiar with certain political trends. Spiritual intolerance, political inquisitions, and declining legal security, and all this in the name of an alleged ‘state of emergency’. … That is how it started in Germany.”
Moreover, when Mann joined protests the jailing of The Hollywood Ten and the firing of schoolteachers suspected of being Communists, he found ‘the media had been closed to him.’ Finally, he was forced to quit his position as Consultant in Germanic Literature at the Library of Congress, and in 1952, he returned to Europe. Th Overton window of the thought police fell on the great writer, as it does to many today. He was now nearing eighty years of age.
Exile created both a looseness and precision of prose style. A spring in the step. Dr Faustus (1947) is one of the best books ever written. It is a masterpiece and worthy of Broch or Musil or indeed Kafka. The stilted Germanic prose style becomes freer. The theme inspires: good versus evil.
The book is about the composer Leverkuhn who sells his soul to the devil. The Faustian pact is Fascism. It is also about the corrupting influence of atonal music and its nihilistic dissonance which creates a valueless universe, like the structuralists and deconstructionists of our time. The great prose meister was having none of it.
In my view, Dr Faustus is also about Martin Heidegger the other central intellectual figures in Germany at the time. Heidegger fell for the bait and took all the Nazi accolades, entering the Faustian pact despite his Jewish mistress Hannah Arendt, who wrote eloquently subsequently about the banality of evil. Mann, though a man of considerable means, said no.
A theme central to his existence was that an artist cannot abandon politics at least not in such a period as the 1940s, and must recognise the moral consequences of his actions.
Dr Faustus frequently references Leverkuhn’s veneration of Albrecht Durer, the great Renaissance artist, and his pictorial representations of moderation, judgment, melancholia and the apocalypse. Indeed, as the Nazi state collapses, he becomes obsessed with melancholia.
In the search for spirituality, Mann invokes in a man who has lost all reason and his soul. When composing Dr Faustus, Mann showed and lectured on this to a fourteen-year-old girl who was visiting, who was Susan Sonntag. Thus, the magician bridges generations and resonates through the ages.
And then at the end of Days with the light dimming he showed in his book about the conman Felix Krull the darkly comic humour at the heart of capitalist chicanery, which, if left unchecked, culminates in fascism.
Mann is the great Protestant Germanic intellect of the last century, but he was also an ethereal magus and magician.
His legacy lies in the assertion of standards, of discipline, of stable family values, and of a certain amorphous sexuality. Above all it is in the condemnation of extremism, the condemnation of barbarism, the assertion of civilised values, the rejection of censorship, the hatred of chauvinism and the social cleansing from the left or right. A consistent hatred of intolerance from all sides.
That is what is needed now.
His life is also an example of moral courage. The Germans wanted the magician back, but he was not satisfied that they had changed. It was him judging them not them judging him. He did not think they were displaying appropriate contrition for what they had done. He was right.
In a different context, in Chile, when Pinochet was forced to call an election – as our conservative rulers will soon be required to in Ireland – a persecuted advertising expert advised the opposition as to how to orchestrate a campaign. No reference to mass murders or internment camps, just young Chileans with the slogan JUST SAY NO.
That is what Mann said to fascism, and what we must now say to the ruling parties in Ireland. No images of homelessness, no incessant exposure of state corruption and criminality. JUST SAY NO, before it is too late.
Belfast writer, and poet, Ciaran Carson carried a black flute with silver keys on its main body, which he would screw together to play sometimes. In class. At Queen’s University, Belfast.
He once asked me, “What would you have liked to become in life?”
I answered: “Either a master carpenter, a mathematician, or a pianist.”
“I agree with the master carpentry, I wanted to become one of those myself.” Ciaran replied earnestly.
Once in a writing group – the infamous Group – he gave me a lot of advice on a poem, which was inspired by the infamous Blackbird of Belfast Lough poem, putting his own literary stamp on it. To this I responded: “Ah, but Ciaran, that wouldn’t be my poem anymore, it would be yours.”
He considered this for a moment and said, “Maybe, maybe.” A couple of attendees came up to me afterwards and said: “You did well to challenge him there.”
You see, Ciaran, sometimes could get inside a person’s work, kick its rafters down and plant new foundations – his own. That didn’t really endear him to some participants. I think he resented my protestation, but on reflection probably thought I was correct. A person’s writing can become a surrogacy, so they can be precious about it. If someone wrestles that babe in arms from them it creates difficulties.
Ciaran was a dichotomy, like myself; as we all can be. Blowing warm one moment, cold the next. I recall him with his horn-rimmed glasses, tweed blazers, and pork pie hat. Like a detective from a 1950s novel, set in middle England; or possibly a character from Z-Cars.
He amused me. I suppose I amused him sometimes, when he wasn’t bewildered by my anxious nature at that time. I felt a lot of social anxiety which I was not in control of. He too stuttered and became nervous. It jammed him up. I was jammed up in my own head, so, I related to that. I empathised by nodding.
I thoroughly enjoyed read his interesting book Shamrock Tea.
His take on Dante was widely embraced and commended internationally. He spoke to me one day about when he was in Italy, where learned folk indulged him, calling him Professore or Maestro! But when he got back home he was still just a “specky bastard.”’ So he mused, with a smile on his face. Such is the iron-raw vernacular of back home.
In his poem Snowthe tic-tac-toe meter and the pat-pat of the table-tennis bat, of the flicking rhythm of the flakes at his window, was successfully achieved.
Ciaran’s mind was shaped by the conflict. How could it not be?
I recall one Presbyterian writer at the Seamus Heaney Group aligning Ciaran with Republicanism because he was from West Belfast – even though he had the same surname as one of the founders of Ulster Edward Carson. But West Belfast was a good enough reason for him. He thought Paisley was right, the IRA needed to go around in sackcloth and ashes to atone for their sins.
That barbaric violence, as he saw it, was only inflicted on the Unionist community. But there was little mention of redress for the Loyalist pogroms against the Nationalist community since the 1920s.
Ciaran didn’t respond too much, but I knew the association would have encroached on him. I once had read in an Irish newspaper piece that Ciaran was asked why didn’t he join the struggle. He answered honestly: “I was too scared.”
He had Protestants in his family background. Also, I am sure, some Republicans but that’s the dichotomy of Belfast. Grey areas. Not black and white. Not binary. Coded. Just a miasma of deeply ingrained historical decisions made, and mandated, by people who have long since passed on and probably don’t give a Frenchman’s fart now.
There was one which I have lost now about, well, it was my take on John Masefield’s Cargoes set in Latin America during the period of the Aztecs and Montezuma. At least that’s what one of his students on the Master’s course, a Brazilian lady, told me after class one day.
Inevitably I became persona non grata at Queen’s because I would not suck up to those with a modicum of power and who were established writers there.
I recall one senior person looking at me one day in a one-to-one like I was a piece of cake. I wondered about his heterosexuality, felt uncomfortable, excused myself, and left. It was confusing and I did not go back. Doubtless, he verbally discredited me to his peers.
Another established writer was angry that I got onto a post-grad course that they were running and more-or-less told me so in a sit down meeting: “There’s the door. You don’t belong here.” Because I did not worship them and their work. And I struggled with my English composition (Some change there, huh?).
That was hard to take. I was hurt by that. I was embittered for a while, but I had experienced a lot of rejection already by that stage in my life. In truth I was in the depths of alcoholism at the time, and found it a real strain to really buckle down and focus. But I still had a creative brain, and a universal beat.
I think Ciaran sensed that because it was his partial reference, and another’s, who got me on to that post-grad course, but that annoyed some people. Power struggles, ego, and insecurity all played a part in the mentality of the Seamus Heaney Centre.
The last time I met Ciaran was in 2017, I was homeless, again, and limping from out of the Industrial temps’ office in Shaftesbury Square, securing some work in a bakery in East Belfast, he looked at me, and I looked back, but we both headed on our separate paths.
I emailed him a while later but he did not respond. I had heard he was seriously ill by then. He was a heavy smoker and so was I.
When he passed away, I wondered about the fait accompli eulogies by those in the narrow academic world in Belfast. I wondered about his dichotomous way of being.
Ciaran wasn’t perfect – who is? But I am richer from the experience of meeting him, interacting with him, and learning from him. He was a very sound writer, read extensively, questioned, loved his music, and knew his literary onions.
The Irish people have a long-standing relationship with ‘numinous presences in the landscape’, often referred to as the little people, or faeries. The literature provides a complex set of illusions. The writer, philosopher and independent scholar, my friend, Patrick Healy on a recent visitation tendered me a painting of Mad Sweeney (buile shuibhne), which forms part of his forthcoming exhibition in Amsterdam.
It made me consider the enduring relevance of the faeries, although I now live in Leatherhead in leafy Surrey, where the little people are well hidden.
In H.G. Welles’ remarkable parable of the future invasion by aliens from outer space, The War of the Worlds, we find the ultimate understanding of an existential threat. When Orson Welles put out his infamous 1938 broadcast, he set it in New York, causing a level of consternation that led some to flee to the nearby hills. The original book is of course set in Leatherhead, which is clearly not immune to faery tales.
Most contemporary faery tales often provide binary messages of good and evil for children – or even child-adults susceptible to manipulation – who see battles between good and evil and a Manichean Universe. Thus, children and adult minds can be manipulated, and often nefarious agendas can be set using their effect.
According to the plagiarised – but well received at the time – work of the psychologist Bruno Bethlehem The Uses of Enchantment, faery tales help children resolve Freudian oedipal conflicts. But on whose behalf? They are cautioned to stay safe from ‘evil’, but the meaning of good and evil is far from clear in this day and age.
Historically, faery tales contain a surprising level of terrifying violence, often involving gruesome acts such as cannibalism, witchcraft, and bodily metamorphosis, as with werewolves. They play to latent fears that can be deployed to manipulate or control the human psyche.
I will now draw out some crucial messages for the profound structural ways we organise our present lives around faery tales.
Illustration of “The Emperor’s New Clothes.” by Vilhelm Pedersen (1820 – 1859).
The Emperor’s New Clothes
Hans Christian Andersen’s 1837 tale is based on a 1335 story from the Libro de los ejemplos (or El Conde Lucanor). It is short and alarmingly precise, involving an emperor of such vanity and so susceptible to flattery that his dressmakers get him to pose and preen naked.
It seems to me that most of the politicians of Ireland, the UK, the EU, and the world at large are the vain inheritors’ of the Emperor’s new clothes, with fake experts and insiders flattering and manipulating them. Political leadership is always subject to vanity and therefore susceptible to flattery.
Juxtaposition and Commentary
Where there is no leadership, the people perish. Proverbs 29.18.
Vilhelm Pedersen illustration for “Ugly Duckling”
The Ugly Duckling
This 1843 tale by Hans Christian Anderson is perhaps my favourite faery tale. Anderson was not a transcriber of faery tales – as the Brothers Grimm were – but a great creative artist. Here the eponymous ugly duckling is hounded out of the tribe, simply for being ugly, but a new tribe welcomes her as she is really a swan, not an ugly duckling at all. At one level this is about finding your niche and not associating with quacks – including those who force you out of town.
Juxtaposition and Commentary
‘Beauty is in the eye of the beholder.’
H. G. Welles
What we need now are more ugly ducklings, and not clean-cut conformists – the inappropriate adults in the room.
Hobbit holes or smials as depicted in Peter Jackson’s The Lord of the Rings film trilogy.
The Hobbit
In J.R.R. Tolkien’s 1937 fantasy classic, an insignificant shire hobbit, Bilbo Baggins with the aid of dwarves and a magician defeats the dark forces in the battle of the five armies. Written just before World War II, it anticipated an Allied victory against the dark forces of fascism. A parable for that time and our own, which is elaborated upon in The Lord of The Rings.
Juxtaposition and Commentary
‘We burned to death 100,000 Japanese civilians in Tokyo, men women men women and children recognised that what was doing would be thought immoral if his side had lost. Lemay said if we HAD lost we’d all have been prosecuted as war criminals, and was right’
Robert McNamara, ‘The Fog of War’
Always keep in mind who the dark forces are, and that winning is not everything, or not always. Manichean battle between good and evil rarely occur. Who is evil today? Is it just Vladimir Putin or those who seek to prolong the war? And if Mr Putin is a war criminal, what of Bush, Blair and Biden?
The Cheshire Cat.
Alice Adventures in Wonderland
In Lewis Carrol’s famous 1865 story Alice falls into a rabbit hole, and witnesses a succession of fantastical creatures, including The Queen of Spades who conducts a trial in breach of due process: sentence first, verdict later.
Juxtaposition and Commentary
This cannot be improved upon in terms of a commentary on this age of prejudgement and guilt by social media, or in the wake of any accusation.
One modern version occurred when then Spanish minister Donna Luzon in advance of the Catalonia trials referred to those accused as the ‘convicted.’ We continue to find prejudgement of pre-crime, and conviction by association of those we disagree with. Quasi-internment. Deportations and extraditions. The obliteration of due process. The end of human rights. Endgame. Off with your head or to Rwanda.
Well mercifully the Court of Appeal disagrees in the U.K.. But what about Julian Assange’s final appeal?
Humpty Dumpty and Alice, from Through the Looking-Glass. Illustration by John Tenniel.
Alice Through the Looking Glass
The second Wonderland visit is best interpreted as being about language and the distortion of tradition.
Juxtaposition and Commentary
‘I know of only one authority which might justify the suggested method of construction. “When I use a word,” Humpty Dumpty said, in a scornful tone, “it means just what I choose it to mean, neither more nor less.”
“The question is,” said Alice, “whether you can make words mean so many different things.” “The question is,” said Humpty Dumpty, “which is to be the master, that’s all.” After all this long discussion the question is whether the words “If a man has” can mean “If a man thinks he has”. I have an opinion that they cannot, and the case should be decided accordingly.’
The above quote comes from Lord Atkin in his dissenting judgment in Liversidge v Anderson(1942). It concerned the decision to intern someone as a subversive without due process. Thus we find a direct transcription from the book in the great English language decision upholding due process at the height of the Second World War. A sole dissenting judgment from a man and lawyer in touch with working class sensibilities
First combined edition (publ. Ted Smart, 2000)
Northern Light / His Dark Materials
The ultimate anticipation of medievalism, with orcs seeking to undermine our hero Lyra, with her supportive, if ambiguous, daemons. Here we find the oppressive authority of organised religion and the death of the great bear Irek Brisson, who has fought so valiantly on her side.
Philip Pullman was clearly influenced by John Milton’s Paradise Lost (1667), where Lucifer seems to be seeking to save humanity from institutional religion – as opposed to Christian belief which is a force of good – thereby undermining the satanic myth of the fallen state from Original Sin.
Original Intent interpreting a legal document from its inception, and not dynamically. Thus, America recognises the right to bear arms because it was acceptable over two hundred years ago. As Amy Coney Barrett put it after her appointment to the U.S. Supreme Court: ‘[Catholic judges] are obliged by oath, professional commitment, and the demands of citizenship to enforce the death penalty. They are also obliged to adhere to their church’s teaching on moral matters.’
From Sleeping Beauty (1959 film).
Sleeping Beauty
Based on the faery tale ‘La Belle Au Bois Dormant, published in 1697 by Charles Perrault, this story has been sanitised for popular consumption. In Disney’s retelling, the kiss of the prince awakens the sleeping beauty, but in the original telling of the tale she is not roused, and he falls in love with her body and essentially rapes her.
It is only at the birth of her twins when one of the babies suckles at her breast that she wakes up. The prince then tells her what has happened. As if all this was not bad enough it turns out that the prince’s mother is an ogress, who is longing to eat her grandchildren. The tale first appeared in England in 1729 in Stories or Faery Tales from Past Times.
Pantomimes and Disney have thus obliterated everything but the kiss.
Juxtaposition and Commentary
The idea of a prince coming to the rescue is also a theme in Rumpelstiltskin, and is the driving force in Cinderella too, although what makes for a prince is far from clear. Is it a man who abuses women or a coercive structure which abuses men and woman? Or worse still, those individuals who rape the earth. Thus, we should be careful about what and who we consent to, whether princes or princesses. Stay safe from sexual predators if you can.
The main cast during filming in 1970.
Willie Wonka and The Chocolate Factory
Let us remind ourselves of the plot of the 1971 movie (based on Roald Dahl’s novel), in which Willie Wonka owns a chocolate factory, but has closed it down, because of espionage and betrayal. Here a race of Oompah Lumpas work under him, who seem like incorruptible souls, like Norwegians perhaps or Icelanders.
So, in seclusion he creates the Wonka chocolate bars containing elusive golden tickets to a factory for a competition, as he is getting old and realises that someone else needs to take over the place.
The children lucky are given a series of tests, for he only trusts uncorrupted children to run the business. He is a man-child adult himself, or a magician or sorcerer. But he finds that the children have also been corrupted. Fallen angels in a world of illusions.
Charlie Buckets is the last recipient of the golden ticket. He fails because after cheating along with his grandfather. But is redeemable, as Wonka comes to the conclusion that the ideal child to run the chocolate factory is working-class. At one level his poverty has produced an element of dishonesty.
Juxtaposition and Commentary
Let us be wary of the inappropriate adults in the room and conscious of how poverty and social exclusion are an increasing feature of our time. So let us also be wary of going it alone, for the poor fall into traps set by the rich. And in an age of limited mobility to escape the debt trap, let us be wary of how and by what mechanisms the poor can inherit the earth or even achieve a basic income.
Puss in Boots
The oldest written telling version is Costantino Fortunato (Italian for “Lucky Costantino”) by Italian author Giovanni Francesco Straparola.
Charles Perrault’s transcription is about a miller’s son who is left a cat in his father’s will. The miller’s son is none too delighted with his inheritance until the cat assures him that he can make the young man’s fortune. All the cat needs to accomplish this is a pair of boots. Thereafter, the cat makes him richer than his wildest dreams, and he marries the most beautiful princess.
Juxtaposition and Commentary
Beware of charming con men who claim they will make you rich, a lesson learnt by as all those who suffered from subprime mortgages and banking misrepresentations from the wolves of Wall Street in Ireland and elsewhere. Lies and misrepresentations that have been rubber stamped by the courts.
Beware of dynamic self-made monsters such as the unlamented Peter Sutherland for they have destroyed and pillaged the earth.
Readers should by now understand how we have been manipulated since childhood by faery tales in a deeply structural way, through the creation of a simplified world of good and evil.
Wilde Encounters…
I recently acquired a first edition Oscar Wilde’s Salome with illustrations by Beardsley. Now as I alight daily in Clapham Junction station on my way to court there is a plaque to Oscar Wilde as I change trains. I am reminded of being an aspiring young thespian in Trinity College 1989 where I played Edward Carson opposite to Patrick Healy as Wilde. So I conclude with Oscar Wilde’s faery tales – above all ‘The Nightingale’, along with ‘The Rose’, ‘The Happy Prince’ and ‘The Selfish Giant’.
By serving their masters selflessly, the swallow and the rose die and only the selfish giant gains a measure of redemption through the generosity of his soul. He had allowed Christ or Christ’s emblem into his garden and now he gains the garden of paradise, or is it the kingdom of heaven?
Feature Image: The Fomorians, as depicted by John Duncan (1912).
The first thing that distinguishes a writer is that he is most alive when alone. Martin Amis, in an interview with TheParis Review (1998)
The empty streets, quiet from dawn to dusk and beyond. No noisy, polluting rush hour traffic, or at any other time of the day. No shuffling, stifling crowds of commuters on packed public transport, or gaga revellers in sweaty pubs and clubs. Not having to go to work, and feeling okay about it because most everyone else was not obliged to either (there’s social solidarity, if ever I saw it). Getting a modest stipend from the government for staying at home. Being able to do whatever you wanted to all day long (within the law, and a five kilometre radius of your residence). If you were living alone or parenting alone you could even pair with one other household as part of a support bubble, and two households could meet outdoors within the travel limit. If you were a renter, no threat of imminent eviction by a rapacious or capricious landlord; if you had a mortgage, a temporary freeze on payments. In short, what utter bliss.
I was alive during lockdown, and I was alone – and although maybe ‘most alive’ is a stretch, I grew to love the sequestered state, to the extent that I still have not fully readjusted to things being ‘back to normal’. But it troubles me that perhaps ‘most alive’ is not quite the same thing as being good, or even happy. I liked lockdown: does that make me a bad person?
Dublin, April, 2020.
Of course it was bewildering at first, and a little frightening – because no one really knew how severe the pandemic might be, or for how long it could last. (Let’s get our priorities straight here: there was a run on toilet rolls.) But after a few weeks, we settled into it. What I missed most upon entering the altered reality: 1) being able to meet friends face-to-face in the flesh; 2) being able to experience the giddy, healing rush of live music I get from going to concerts; 3) being able to travel, if and when I wanted. But I soon adapted to the new dispensation. After all, we now have all these wonderful machines with screens to help us keep in touch with people electronically, if we feel the need for company without risking the possibility of infection. Plus, we can use them to purchase pretty much anything we might want, as long as we are in funds or have access to lines of credit, and have said items delivered directly to our doors, thus obviating the need to ever stir outside, whether we are permitted to or not.
I thought of Oceane in Tibor Fischer’s Voyage to The End of The Room (2003) (itself a riff on the antisocial aesthete Des Esseintes in J. K. Huysmans’s A Rebours (1884)); and, more recently, of the unnamed narrator of Ottessa Moshfegh’s My Year of Rest and Relaxation (2018): both protagonists who have, insofar as is practicable, retired from social interaction. I thought of many of Cormac McCarthy’s heroes – men invariably configured as some variation on the theme of first or last person on earth. Mainly, I thought of Kate in David Markson’s Wittgenstein’s Mistress (1988), who either is, or imagines herself to be, the last woman on earth. All in some way extend the trope, with its origins in science fiction, of the depopulated world, brought to perfection in the dirty metaphysics of J. G. Ballard’s best work. To put it more simply, as a reclusive friend once described his habitual living circumstances to me, it was ‘Howard Hughes without the money.’
Obviously, there were downsides. For a start, people were dying – often the poorest and oldest and most vulnerable in other ways. Then, some people still had to work, whether they wanted to or not, and not only health care professionals, but supermarket staff and take-away deliverers were deemed ‘essential’ or ‘key’ or ‘front line’ operatives – thus risking sickness and death for minimal reward. Yet others were acting like idiots, with their bizarre conspiracy theories and their deliberate flouting of restrictions. Personally, my greatest hassle was the way my eyeglasses steamed up every time I masked up.
Dublin, April, 2020.
But I was lucky: I had a house to myself with a garden, and a car and a bike and a fridge and a freezer, and a television and a hi-fi system and internet access, and I was mobile and could venture to shops when supplies ran low, or take long walks and cycles for exercise. Roaming around the Hellfire Club or the adjacent Massy’s Wood for hours on end, while listening to Éliane Radigue’s Trilogie de la Mort on the headphones, was a favourite pastime, if I felt the need to get out of the house and blow the cobwebs off – not something I would necessarily have done if I’d been working five days a week. Furthermore, I did not have any very youthful or very elderly dependents relying on me for their daily needs or morale-boosting support. Reports of domestic abuse among those living in cramped, overcrowded conditions circulated and increased steadily, and I pitied anyone trapped in a fraught, tension-filled environment. My nutjob survivalist’s instinct began to kick in.
I was alone because my wife had taken up a job abroad a few months pre-pandemic. When rumours of imminent lockdown first hit she had wanted to return home, but I managed to dissuade her. We had been going through an elongated rocky patch, and I reasoned that a) if forced isolation was short-lived, then it wasn’t worth her while uprooting herself all over again; and b) if having to stay indoors lasted for a longer time, then sooner or later we might well drive each other to distraction, if ensconced under the same roof for such a lengthy period. We were then trying to establish independent lives, and in retrospect I still feel my decision was the correct one – in as much as later we experienced a ‘Covid-bounce’ and were reconciled. Not that coming together again was a direct consequence of being apart, but being together under duress certainly wouldn’t have helped us in resolving our difficulties. Does anyone really need to be with a partner/lover every hour of every day? Each time I saw him/I couldn’t wait to see him again (‘Then He Kissed Me’ by The Crystals, 1963) is the stuff of teen anthems and first love. Constant companionship in a confined space may even be detrimental, if not wholly destructive, to a relationship. Or, at least, to one with me. Am I a bad person?
In Middlemarch (1872) George Eliot has her ‘godless’ heroine Dorothea Brooke suggest that if religion were actually true and God existed, and achieving eternal salvation (and avoiding a similarly enduring damnation) was our main priority, then we should all devote our whole lives to this pursuit as cloistered contemplatives, rather than just leaving it at attending church on Sunday and doing a few good works. One of the few modern-era Catholic writers I can read with pleasure and profit, the Trappist monk Thomas Merton (1915-1968), wrote in Thoughts in Solitude (1956): ‘We cannot see things in perspective until we cease to hug them to our bosom.’ He continues:
When society is made up of men who know no interior solitude it can no longer be held together by love: and consequently it is held together by a violent and abusive authority. But when men are violently deprived of the solitude and freedom which are their due, the society in which they live becomes putrid, it festers with servility, resentment and hate.
Still, not all of us can become Trappist monks, or opt to lead a comparably ascetic life. For one thing, belief in God, or some conception of divine transcendence, appears to be a necessary, if not quite sufficient, prerequisite. For another, the need for sex, or even the search for secular love, does require one to be ‘out there’, however nominally. As my wife once opined, ‘You should have been a monk – except you like sex too much.’ Not that a vow of celibacy is always mandatory for the anchoritic life, or acts as an insuperable impediment to a long withdrawal – at any rate not nowadays, and not outside of the western tradition. For example, it is on record that the flexible arrangements surrounding Leonard Cohen’s five year stint living at the Mount Baldy Buddhist retreat centre, where he was given the name ‘Jikan’, meaning ‘Silence’, did not preclude female callers, or indeed boozing marathons with his Zen Master teacher, Old Roshi. But he was Leonard Cohen, not your average seeker after enlightenment, and Mount Baldy is located outside L.A., not Kyoto, so exceptions were made and such privileges extended.
But even setting aside the vagaries of libidinal desire, ultimately I think monastic life, which for many people lockdown could be said to have resembled, would be too social for me, certainly in its Cenobitic, or community form, if not in its Eremitic, or solitary practice. I like doing things – eating, sleeping, writing, reading – when I feel like doing them, rather than adhering to a strict schedule with other devotees. Interestingly, the Trappists, who are an essentially cenobitical order (in contrast to, say, the enclosed Carthusians), maintain a custom under which individual monks or nuns who have reached a required level of maturity within the community may pursue a hermitical lifestyle on monastery grounds under the supervision of the abbot or abbess. Merton was one such allowed to undertake this mode of living. Yet even then he fell into an earthly love, with Margie Smith, a student nurse assigned to his care while he was recuperating in a Louisville hospital from surgery he underwent in April 1966, to treat debilitating back pain. She was twenty-five, petite and demure; he was fifty-one, stocky and bald, with a wandering intellect and a boisterous laugh. Although in several diary entries (see Learning to Love: Exploring Solitude and Freedom, The Journals of Thomas Merton, Volume Six: 1966-67) he expressly denies sexual consummation, on July 12th he wrote:
Yet there is no question I love her deeply … I keep remembering her body, her nakedness, the day at Wygal’s (the office of his psychologist, which he ‘borrowed’ for a tryst on June 11th – the diary entry for which day notes that they shared a bottle of champagne), and it haunts me … I could have been enslaved to the need for her body after all.
A previous entry for June 14th notes his discussions with his abbot about this affair, and his intent to follow the instruction to end it. When he did, he still remained in occasional contact with Margie, and some recent Merton scholars have even argued that the monk regretted giving her up so much, and was so remorseful that she had married someone else (a doctor in Ohio, with whom she raised three sons), that he no longer felt life was worth living.
Also, incidentally, according to The Seven Storey Mountain (1948) the youthful Merton loved jazz, but by the time he began his first teaching job he had forsaken all but ‘peaceful’ music. Later in life, whenever he was permitted to leave the Abbey of Our Lady of Gethsemani, Kentucky, for medical or monastic reasons, he would catch what live jazz he could, in Louisville or New York. So maybe there is hope for me yet, to entertain a life of socially sanctioned solitude (with sporadic forays to musical events) – although I fear I would not take kindly to that clerical ‘supervision’.
More to the point: I am not under thirty, or even under forty – so I would not expect those in that demographic, who are eagerly trying to establish relationships and careers and lives, to share my guarded enthusiasm for society grinding to a halt, or for taking a lifelong holiday from it. I have managed to attain some perspective on matters carnal, and on those of the heart (not to mention on my fluctuating sources of income) – even if this equanimity is, I suspect, largely hormonally determined, rather than an intellectual or emotional insight. Having said that, while I may still be partial to the odd ride, much less to a touch of romance, it was not impossible to hook up during lockdown, with a little technological aid, and within certain geographical limitations. Much like ordinary times.
Dublin, April, 2020.
Naturally, I reread Albert Camus’ The Plague (1947) during the time of Covid, like many others. For, whether the surge in its popularity consisted chiefly of first-timers or revisitors, in this activity I was hardly alone, as publishers reported a huge worldwide increase in sales of the novel, once the virus had taken hold. Figures for the English translation went up by 150% in the last week of February 2020 as compared with the same period in the preceding year, while the original French version rose in number by a staggering 300%. (Boccaccio’s Decameron (1348-1353) and Defoe’s Journal Of The Plague Year (1722) enjoyed similar stupendous bumps up the charts, courtesy of the reading public.)
What I discovered about The Plague was that it could have been written yesterday. So accurately did its descriptions of how individuals, and the general populace, behave in Oran during that escalating crisis chime with contemporary events, many passages could have been culled from the newspaper headlines and news bulletins of 2020-21. Which tends to make one despair of human nature, and embrace the cliché that it doesn’t change much. Here are three choice snippets, in case you didn’t get around to it this time:
‘There have been as many plagues in the history of the world as there have been wars; yet always plagues and wars find people equally unprepared.’
‘How should they have given a thought to anything like plague, which rules out any future, cancels journeys, silences the exchange of views? They fancied themselves free, and no one will ever be free so long as there are pestilences.’
‘The truth is that nothing is less sensational than pestilence, and by reason of their very duration great misfortunes are monotonous.’
Compiling lists was something else which really caught on, and if you hunt around the internet you will turn up the catalogues of my favourite novels, favourite albums, favourite films, worst jobs, and all that. Everyone started baking sourdough or banana bread, and posting photos of the results on social media, me included. If it hadn’t been for lockdown, I doubt I’d have got through nearly every one of the over twenty films directed by the prolific Sion Sono (the Japanese David Lynch), or worked my way through as many of The Guardian’s ‘Top 20 J-horror films – ranked!’ as I could find, or rewatched all of Michael Haneke’s filmography in chronological order, or lapped up the entire boxset of The Wire for the third time (which I would gladly do again), or discovered the best of Dario Argento (and what, really, had been so important in my previous life as to account for this grievous omission?). I played online chess with a couple of musician acquaintances, and some anonymous randomers (happy to report that my game improved exponentially). I even recorded my versions of every song on Bob Dylan’s Blood On The Tracks (1974) and had the temerity to upload the attempts to YouTube.
All of which prompts the question: what had we all been doing with ourselves before the plague descended?
Mainly, lockdown was a boon for me because I started writing again, having lost my way – aside from journalism and reviews – for a number of years. But this time it was not fiction, as previously, but rather essays, akin to this one. Martin Amis is not alone among writers when, in the epigraph to this piece, he expresses the tribe’s preference for solitude. Here’s James Baldwin, writing in ‘The Creative Process’ (1962): ‘The primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid: the state of being alone.’ It’s almost enough to convince you that seclusion is an indispensable component of creation (although theatre, film, music and dance are clearly collaborative arts – and even desk-bound writers engage with agents, editors and publishers). But, perhaps in common with painters more than any other arts practitioners, writers live in their heads, and are solipsists par excellence. The interior world of imagination is always more stimulating to them than what Roland Barthes referred to dismissively as ‘The trivial kitchenry of doing.’ As for living, our servants can do that for us – if only we had servants.
When I first had notions of becoming a writer, one of the most appealing aspects of the calling was the option of anonymity: like J. D. Salinger or Thomas Pynchon, you could be famous, or let’s say influential, without anyone recognising you in the street or bothering you in public. Nowadays, however, one has to be ready to be interviewed at the drop of a hat, and take a strenuous part in one’s own publicity campaign (“What? No social media presence?”). One is also expected to become a member of ‘the writing community’ – whatever that is, and wherever it lives. So many of today’s writers spend so much of their time being on television and radio and going to literature festivals – in other words, promoting themselves and their work – that it is difficult to imagine how and when and where they ever manage to get any writing done. You might as well be in a touring rock band. (And when do they do their songwriting? At soundchecks? In hotel rooms? In the recording studio? I suppose they are not on the road all the time – but since the digitalisation and free filesharing of music, needs must to make a living, which means playing live and selling merch.)
In more recent years – primarily due to the ubiquity of television and the rise of the internet – writers have at times been presented – many of them willingly – as another type of media celebrity. Yet, in the not so distant past it was still quite difficult to reach an author from outside the circuit of the publishing world. Writers used to be identified mostly through their written work, and it was the norm for a reader to be aware of an author, to like or even love their work, and continue to be fully ignorant of their physical appearance, and also unaware of most of the biographical information that now is routinely accessed. One could scarcely imagine Franz Kafka or Fernando Pessoagiving an interview. Indeed, it is legitimate to question if individuals with such reclusive personalities would, in today’s climate, be offered a publishing deal at all.
Publishing is a business, and a publishing house is unlikely to invest in a writer’s work if it stands to lose money, or to not make very much (unless a few hugely commercially viable wordsmiths subsidise all the ne’er-do-wells). Yet writers are, arguably, very different from performers of popular entertainment. In practice, of course, not many authors differ significantly from performance artists, and what they say on stage is at least as vital to their process as what they write on the page. But to bring about an increase in links between the two activities, whether intentionally or unwittingly, will certainly result in fewer published authors who are characterised by acute introversion.
Now, it may be argued that the attraction of retreating inside a Proustian cork-lined study to do one’s writing means that the work produced will have a very narrow focus, and that you will have fewer stories to tell, except the ones about yourself. Such confinement implies that your daily ‘life experience’ will be extraordinarily circumscribed. However, in my opinion, most people have more than enough ‘life experience’ by the time they are twenty-five or thirty to be going on with for the remainder of their lives. If, indeed, life experience is really a requirement for writing well at all, especially in comparison with the transformative power of the imagination – for those who have one. That ‘smiling public man’, Senator W. B. Yeats, in ‘The Fascination of What’s Difficult’ (1912), bemoaned the distracting vicissitudes of ‘Theatre business, management of men’ which he had earlier so eagerly embraced, and also elsewhere wrote ‘Why should we honour those that die upon the field of battle? A man may show as reckless a courage in entering into the abyss of himself.’ Or, as has been remarked with reference to Jorge Luis Borges: ‘A man may lead an exciting life without ever leaving his desk.’
(Note to television and radio producers, and festival organisers: I am now available for any interviews or promotional junkets going, and I promise to wax eloquent about the topic of this essay, or any other subjects about which I have written.)
Dublin, April, 2020.
Does much of the foregoing sound like plain old misanthropy? I do not regard myself as overly misanthropic, even if I have a low opinion of much of the human race. I still like the people I like, and like them a lot. It’s when people organise themselves into groups that my suspicions are raised. As Jonathan Swift wrote, in a letter to Alexander Pope, ‘I have ever hated all nations, professions, and communities, and all my love is toward individuals.’ Doubtless the proponents of wellness fads, and associated quackery, will diagnose me as ‘anti-social’, and conclude that I ‘lack empathy’. Not so. If anything, I’m more asocial than anti-social, and I can have oodles of empathy, when I want. Granted, maybe I should ‘want’ more. However, I do not place quite so high a value on empathy as an attribute as the esteem with which it is held in the current discourse appears to require. Too much empathy can get you into all sorts of bother.
Nor am I agoraphobic (from Ancient Greek ἀγορά, meaning ‘an assembly of the People’, or ‘a marketplace’ (the typical spot for such an assembly); and φόβος, meaning ‘fear’) – although I do have a problem with ‘the market’ as a determinant of value, and therefore fear it. People who had known me in a previous life might even have described me as a bonvivant or man about town, such was my propensity for attending live artistic happenings, chiefly concerts. (In fact, there are those who would say that I have only two settings when it comes to my preferred mode of being: the quiet fragility of tremulous silence, or the overpowering loudness of raucousness sound. Signal to noise ratio.) However – and I don’t know if it is attributable to incipient old age, or whether it has been accelerated by quarantine – I now no longer need to be out all the time. Maybe I had always been a potential hermit, who simply lacked the courage of his convictions. Still, it’s quite a momentous revelation when you realise that you could get used to being content enough never seeing anyone for the rest of your life. ‘Man is a social animal’ Aristotle tells us in his Politics. ‘Virtue is social’ admonishes a voice in Philip Larkin’s astute poem on this theme, ‘Vers de Société’. Yet there is such a creature as a gregarious recluse, however paradoxical that might sound. Lots of animals hibernate for winter: why can’t homo sapiens (wise man!) do it for three or four months annually, if not for the whole year? But what of the need for company and companionship, if only to stave off the loneliness? The answer to this objection is that being alone and feeling lonely are two entirely different conditions. Some people feel lonely at the heart of a crowd of people; others are at peace staring at the stars by themselves.
So, am I a bad person? Not really, although I may concede to selfishness. But all artists are selfish, or certainly no more or less so than the majority of the rest of humankind. There are fully socialised reasons for being selfish, just as there exist selfish reasons for being social. How bad a person does selfishness make you?
I repeat: am I a bad person? No, I’m just an introvert – and there is nothing wrong with that. (Note to self: future essay comparing the relative merits and demerits of introversion and extroversion.)
Mostly, I can’t be bothered arguing and debating with people much anymore. I mean, I kind of like it, sometimes, when it takes place at a level I consider ‘intelligent and informed’, but most discussion, it seems to me, exists at a standard that makes it hardly worth talking about or engaging in, and amounts to nothing more than people repeating their opinions and beliefs at each other at contrasting pitches. I guess this view makes me a snob, and of the worst kind – an ‘intellectual’ one. But really, as is in the nature of friendship, I like being with people who agree with or broadly share my worldview, and I get irritated being around people who are coming from the opposite end of the religious or political or literary or whatever spectrum. Perhaps that is my great character flaw; but it’s tiring, to the point of exhaustion, always being called on to defend yourself. And yet, it is ingrained that we can only change things (or maintain the status quo) through exchange of ideas in a public forum. That’s how much vaunted democracy, such as it is, functions. However, as far as I can make out, people who talk too much have nothing much to say. Or, at least, one has to put in quite a shift to discern what it is they are actually trying to express. Talk is cheap. A still tongue in a wise head. Have we gleaned nothing from Wittgenstein’s dictum: ‘Whereof we cannot speak, thereof we must be silent’? Or have we not heard the sagacious Borges’ counsel: ‘Don’t talk unless you can improve the silence’?
But even I am human. I have slowly crept back to attending gigs, going to the cinema and theatre, meeting friends, even going to parties, and making a couple of journeys abroad – although I did suffer from Covid-hesitancy at first. The intensity of crazed moshing at black midi in Vicar Street was disconcerting, as was the surprise that Mitski Miyawaki had morphed from being an act with a relatively mature audience of twenty and thirty-somethings to a TikTok sensation for fifteen-year-old girls queueing around the corner at the same venue, before it opened its evening doors. In both cases, I forsook my usual front row vantage point, and retreated to the back of the hall.
I have noticed a greater than usual degree of incompetence on my part, in almost every piece of daily business that I do. Nothing feels the same as it did, in The Before Times. When you step off the carousel, you are not sure you want to get back on again – finally acknowledging that it may have really been a treadmill all along. I returned to work, because I had to, but more than ever before was plagued (apologies) by the nagging question ‘What am I doing?’ (with my time, with my life, with my endless numbered days), asked with an existential weight that was spirit-crushing. It was back to the small talk, or as its components are also called, pleasantries. Some colleagues were in agreement with me that we have all become ‘a little more Zen’, post-hiatus. Although there is an underlying apprehension that we are just dazed and confused zombies. After all, how could we tell the difference?
Inevitably, and in spite of obeying all official directives and taking all reasonable precautions, I contracted the plague myself, having successfully dodged it for over two years. The perils of being out and about, mixing with the throng, instead of sheltering safely at home. I may even have picked up some form of Long Covid, given my occasional breathlessness and sudden bouts of tiredness, and general brain fog and word soup. What is all this mad rushing around for?
Dublin, June, 2020.
The most disappointing thing about the easing of lockdown is that it seems, both individually and as a society, that we have learned nothing from the experience. We are still pursuing the mythic chimera of endless economic ‘progress’; we are still subjecting ourselves, or being subjected to, lives of pointless wage-slavery; we are still pillaging the planet’s natural resources for short-term solutions and private gain. We still have not learned that we are not landlords here on earth. We are not even tenants. We are guests, just passing through. At the time of our leave-taking, wouldn’t it be preferable to know that we had made things a little better, or at least no worse, for all present and all of those to come, rather than just making sure that we took as much of the world’s bounty as we could get for ourselves and our own, and had as a good time as possible while doing so, at the expense of others?
Maybe I did not feel ‘most alive’ during lockdown, but I do feel ‘most alive’ when writing, and lockdown facilitated me towards that end. Therefore, it was one of the happiest times of my life, and it is little wonder that I harbour residual nostalgia for those halcyon days. In fact, it is tempting to declare: that’s what life should be. In ‘The Choice’ (1933), Yeats tells us ‘The intellect of man is forced to choose/Perfection of the life, or of the work.’ In response, Derek Mahon takes issue with this high-flown assertion, in ‘Knut Hamsun in Old Age’ (1980):
One fortunate in both would have us choose “Perfection of the life or of the work.” Nonsense, you work best on a full stomach As everybody over thirty knows – For who, unbreakfasted, will love the lark? Prepare your protein-fed epiphanies, Your heavenly mansions blazing in the dark.
So, should I get out more? No, not if going out means writing less – which, in my case, it usually does. ‘No man is an island’ averred John Donne, in a phrase which that mischievous mystic Merton referenced when he took it as the title for one of his finest essay collections. Alas, just as it is not given to everyone to be a monk, not all of us are writers or artists. My only hope garnered from lockdown is that I can retain the writerly momentum I gained during it, now that the world has opened its doors and windows once again, and everything is returning to a not-so-very-new ‘normal’.
Julian Lloyd’s iconic portrait of Nick Drake now forms part of the U.K.’s National Portrait Gallery’s photographic collection. Lloyd’s friendship with the archetypal singer-songwriter, who died, tragically, aged just twenty-six in 1974, permits a rare intimacy between photographer and an elusive subject.
In some photos Drake looks to be at peace with himself and his surroundings, but in others of the doomed troubadour – featuring in Lloyd’s new exhibition running in the Horse Gallery, Dublin 1, from July 6th to July 17th – we find a less playful figure, with Drake brooding beneath a heavy coat on a Welsh beach, inhaling urgently.
Lloyd says Drake was “a nice, easy going, companionable man, very private, but not particularly buttoned-up. Obviously he became ill – a cruel mental illness which locked him up and made him miserable. Nick was just one of the gang, but obviously he had a talent.” The budding artist, who only achieved posthumous fame, was “happy to play in front of a few of us in a room. Never anything boastful or show-offy about him.”
Lloyd claims that it was “pure luck and happenstance” that brought him into the same social circles as figures such as Drake, and later, after he moved to Ireland – to work with horses – musicians such as Ronnie Wood and Dolores O’Riordan, along with actors such as John Hurt.
Despite many of his subjects being celebrity figures, there is a lightness to the work. You really get the impression that Julian Lloyd was simply a photographer among friends.
Crystallising Memories
Julian Lloyd clearly possesses a keen eye for the poignancy of a fleeting moment in time, crystallising memories, whether at a carefree party or even outside a funeral, which is the hallmark of great photography, and art more broadly. Choosing when to take out the camera and start shooting is a fraught exercise, as a subject may recoil or put on a false persona before the lens. Lloyd seems to have a knack of timing this to perfection.
Lloyd is not in the least bit precious about his photography, confiding that on occasion he is not averse to having a few drinks at a party, and allowing auto-focus to prevent any mishaps. Nor does he feel threatened by the ubiquity of smart phone photography, recalling the insight of the American photographer David LaChapelle, who put it to an audience that while everybody in the world has access to pen and paper, few writers attain the level of Shakespeare.
He also dismisses the idea that photographers conform to a particular personality type, recalling meeting with “ebullient, chatty, noisy photographers, and also furtive ones, who creep around in corners.” His own work has been in “fits and starts”. He was pretty broke for periods, and had no camera to work with after a theft for some time.
Hippie Trail
Apart from the glamour of his rock ‘n’ roll and aristocratic subjects, we also find an abiding love for Ireland in the collection, especially the characters he encountered along the way, such as the parking attendant at the Cliffs of Moher who sold tin whistles on the side.
After leaving school he first plied his photographic trade for a local newspaper in Northumberland near the English-Scottish border, where ships would occasionally pull in undetonated World War II mines for him to photograph.
He then moved to ‘Swinging Sixties’ London, where he secured a job in a photographic studio, and met his future wife Victoria, whose sister was going out with Eric Clapton at the time. George Harrison was also on the scene.
There reached a point, however, when, like other hippie idealists, he wanted to move to the country. Back then “people would set off in barrel topped wagons.” He and Victoria followed suit, found one for themselves and purchased a mare to take it from Swindon to Somerset.
This proved a life-changing experience. Despite no family or other background with horses, he grew fond of the mare and “the whole relationship with horses.” Later he found a job with a horse dealer, learning the business “from the ground up.”
Lloyd’s unusual hippie trail eventually brought him to Ireland. This was he says “a very vivid experience.” He and Victoria found “a very different culture living in Ireland than it was in Britain. It was very, very attractive.”
In 1975 he came to work for Tim Rogers in Lucan in county Dublin, who had, he says “the best stallion operation in Europe at the time.” It would be over forty-five years before he finally returned to the U.K.. He has recently moved to live in Shropshire near the Welsh border, where Victoria’s family is from.
He recalls a friend, Sean Doyle saying to him that “to succeed in life you must have an unfair advantage.” But unlike the relatively easy world around his photography, Lloyd enjoyed no unfair advantage when it came to horses, making it “very, very difficult.” It was a seven day a week job, to which he “gave it everything” and possessed “the zeal of the convert”. Nonetheless, he spent “plenty of years skint” during a time when it was “very, very hard to make a living.” If photography was a playful mistress, the breeding and raising of horses was a demanding master.
Lloyd describes Ireland as “a safe haven” – away from a prying media – for many of the English musicians and other artists who took up residence here from the 1970s. Some like Marian Faithfull found a more receptive audience for their work.
Julian Lloyd’s photography captures that carefree world, which existed, unimpeded, alongside surviving remnants of a peasant society, which also features in his work. It was perhaps to his great advantage that he did not depend on photography for an income, but could instead indulge a passion in intimate settings, where he could blend in seamlessly with the crowd.
The colourful humourist and English poet laureate, Sir John Betjeman (1906-1984) is the subject of Dominic Moseley’s Betjeman in Ireland (Somerville Press, 2023), which is lavishly illustrated with photographs.
Betjeman, who took his teddy bear, Alfie with him to Oxford in 1925 was the inspiration for the character of Sebastian Flyte in Evelyn Waugh’s Brideshead Revisited. Posted to Dublin as press attaché in the British Embassy during World War II from early 1941 to autumn 1943, his love affair with Ireland had begun two decades earlier in Oxford. There he met, and had a unique affinity with, the remnants of the Irish Ascendancy in all their fading glory. Chief among them was Edward Pakenham, 6th Earl of Longford who lived in what is now, Tullynally Castle in Co. Westmeath. It was Pakenham who first brought Betjeman to Ireland in 1925.
An unapologetic social climber, Betjeman was the son of a furniture manufacturer from North London. Yet he was often ridiculed for his remorseless snobbery and his upwardly mobile pursuits. He finally enrolled in Magdalen College, Oxford after some difficulty in 1925, and it was in Oxford he met influential people such as C.S. Lewis and Maurice Bowra and Evelyn Waugh but also members of the Anglo-Irish Ascendancy who held a unique charm for him and with whom he formed a special bond. Indeed, his road to social success seems to have been through the back door of the Irish Ascendancy.
Betjeman nourished an abiding fascination with Ireland from his Oxford days, especially the Irish Aristocracy – the more eccentric the better. He declared his ‘particular’ fondness for ‘people who had gone to seed’.
Others in the roll call of Betjeman’s Irish friends were Lord Rosse of Birr Castle, Basil Ava of Clandeboy House, Co Down Northern Ireland. His life-long love affair with Ireland was cemented in 1951 when, aged forty-six, he met the twenty-year-old Elizabeth Cavendish of Lismore Castle, who became his lifelong mistress and muse, causing occasional, great misery to his aristocratic wife Penelope.
It was through such aristocrats that Betjeman got his first taste of Ireland and when he arrived in Dublin as press attaché in 1941, whereupon he immersed himself further into that circle. Described affectionately by Moseley as ‘an ambitious social alpinist’ who ‘dearly loved a lord and lady’ he shamelessly cultivated them. Indeed, his enthusiasm for the Irish upper crust bordered on sycophantic.
Moseley chronicles an awesome litany of love affairs, flirtations and dalliances indulged in by Betjeman. But this larger than life, affable, and energetic figure could still say, incredibly, in later life that the one regret he had was not ‘having had more sex.’
It was possibly because of Betjeman’s popularity among Ireland’s Ascendancy he was chosen as press attaché. He soon became an instant hit among the literati of the Palace Bar, on Fleet Street in Dublin. This helped fulfil his mission ‘to ameliorate the anti-Irish tone of British press and to dilute the anti-English sentiments of the Irish press.’
In the Palace Bar the influential editor of the Irish Times, RM Smyllie ‘held court’ among a wide audience. Betjeman charmed a formidable array of artists and writers such as Sean O’Faolain, Frank O’Connor, Brinsley MacNamara, Flann O’Brien, Patrick Kavanagh, Austin Clarke, Terence de Vere White, Maurice Craig, Cyril Cusack and numerous others from the world of literature who also wielded a lot of influence.
He was no less popular among the artists he befriended such as, Paul Henry, Jack B. Yeats, Harry Kernoff, Sean O’Sullivan and numerous others. This group was ‘the locus of soft power’ in Ireland and once Betjeman was accepted and esteemed in this circle his success in Ireland was assured.
Portrait of Seán Ó Faoláin by Howard Coster, 1930’s
Ireland could easily have become a strong ally for Germany against Britain. Betjeman had ‘stepped into a historical minefield with little resources except his natural affability’. He certainly seems to have had a major diplomatic impact, and his friendship with the writer, Elizabeth Bowen – herself working for the British Ministry of Information and an on-off lover of Sean O’Faolain – was sure to have helped Betjeman.
It was Betjeman’s easy charm, wit and affability that made him a huge success in Ireland and his encounters with the Irish politicians of the day, including Éamon de Valera were very successful too: he had a sympathy with the problems posed by partition in the North, but this did not prevent the IRA classifying him, for a time, as a person of ‘menace’, although the plot to assassinated him was later dropped.
In 1942, he used his influence to get the English Horizon literary and artistic magazine to do an Irish number, featuring among others, Sean O’Faolain, Frank O’Connor, Patrick Kavanagh and Jack B Yeats.
What this entertaining page turner underscores is that John Betjeman was first and foremost a gifted poet who ‘celebrated every aspect of the idea of love’ and was especially ‘a poet of place whether it be the home counties, Oxford, Ireland or his beloved Cornwall.’
Unsurprisingly, he had a particular affinity with, and admiration for, Patrick Kavanagh where a sense of place is always foremost in the latter’s poems.
A major early influence was Goldsmith’s ‘Deserted Village.’ Betjeman’s passion for place, for architecture, for locations, for churches and old ruins saturates his poems and this is very much the case regarding his most celebrated Irish poem ‘Ireland With Emily’ where place fuses with his unrequited passion for Emily Hemphill of Tulira Castle in Galway (later to become Emily Villiers-Stuart of Dromana House, Waterford). It is one of his finest and most evocative poems about Ireland.
Betjeman’s passion for architecture flourished in Ireland too and his love of stately houses often outstripped his passion for their occupants, albeit he later wondered ‘how many linen sheets in the houses of Ireland received his lustful limbs.’ The combination of place with the erotic in his poems is described as a ‘potent brew’.
He waxed erotically about Furness House, Kildare, Shelton Abbey, Wicklow, Woodbrook House, Portarlington, Pakenham Hall, Westmeath and numerous others. Betjeman even learned the Irish language and frequently signed himself Sean O’Betjemán. His heart-rending Irish poem ‘A Lament for Moira McCavendish’ is another fine example of how place and love conflates in a way unique to Betjeman.
He might, as the author suggest, ‘have by his association with Elizabeth Cavendish, ascended to the highest rung’ socially but the portrait that emerges in this book is of a complex, flawed but likeable, warm human being with a large-hearted humanity and a unique generosity of spirit. It was that quality that made him the perfect diplomat in Ireland at the time.
A devout Anglican who feared the afterlife he emerges as the most loveable of ‘sinners’ in this book. His ‘Ballad of the Small Town in Ireland’ is likened to a Thomas Moore melody in which he celebrates the ordinary life of fair days, burned barracks, elegant squares, neglected graves, ruined churches and court houses.
Above all, Betjeman’s pre-eminence as a poet of merit is vigorously reclaimed in this study. The author notes how the ‘Modernism’ in poetry championed by T.S. Eliot and E.E. Cummings paved the way for an, often ‘graceless poetry devoid of scansion, rhyme, metre and original thought’.
As a traditionalist Betjeman is often dismissed as a ‘trite poet’ and, lamentably, does not feature today on school and college syllabi. None of this takes from the fact that his Collected Poems sold over two million copies and that when he died in 1984, he had been England’s poet laureate for twelve years, from 1972.
This book is not just an inspirational, charming and entertaining account of Beckett’s time in, and life-long love affair with, Ireland but it is a passionate command to restore him as a major poet of the English language.
Betjeman In Ireland by Dominic Moseley is published in paperback by Somerville Press and costs €15.
According to Western medical science I suffer from a condition called depression. And from my perspective, I suffer. The conditions of my reality are such that sometimes no matter the environment – with loved ones, by myself, in mediation or not, eating or fasting, sleeping or awake – I feel a sense of dissociation, dread and low energy levels in my body. It comes and it goes and the time it stays can never be predicted. It’s not a comfortable existence.
Practicing yoga has been a wonderful way to help with depression. Lonely and isolating thoughts can’t intrude when those thoughts have been stilled: yogas chitta vritta nirodha [trans: yoga is the stilling of the movements of the mind].
When I told a good friend recently that my yoga practice didn’t seem to be helping with the symptoms of my depressions, as it had in the past, she said, “maybe it’s not working? Maybe you should try something else? Like a hobby?”
My instant reaction was, “how dare you question my practice?” I got defensive. She didn’t understand. She’s not a yogi. These practices are fundamental to my life. Yoga has helped me overcome substance abuse, break ups, a mid-life crisis, and poor work/life balance. What do you mean “it’s not working”?
As it turns out, she was both right and wrong. She was right: the yoga wasn’t working. She was also wrong: yoga always works.
My yoga practice wasn’t working because I was expecting it to alleviate my suffering like a drug alleviates the symptoms of disease. I practice and I stop suffering. Like buying a salad at a restaurant. Like purchasing a bicycle. A contract.
I was offering my dedication and daily practice and expected to receive something (bliss, freedom, insight) in return of equal or greater value. And the harder and longer I practice, the more and more rewards I receive. In this case, I expected to be delivered from my depression in return for my yoga practice: daily meditation, kriya and pranayama, and Japa practices.
So, my friend was right: yoga wasn’t working because that is not the way yoga works. In a spiritual practice, the investment is the return. The discipline, the devotion, the surrender, these are the practices AND the results. And this includes surrendering any expectation that your suffering will end just because you practice yoga.
Our daily lives are comprised of contracts or agreements. We aren’t aware of this most of the time. We work to make money. We use money to pay for food and shelter. These are transactional agreements we make many times a day.
I use money to buy a thing and I expect a thing in return for payment. The expectation is of something foreseeable with pretty good accuracy: I see an orange, I pay money, I go home with the orange.
Let’s go further. The dentist says if I brush my teeth, I won’t get cavities. Doctor says If I eat a healthy diet, I’ll avoid heart disease. I shower to keep my body free of germs. I eat to nourish my body. My friend and I agree to meet for lunch at 12:30pm.
These are what we might call causal agreements: I do one act and expect a certain result or effect in the future in return. The expectation is foreseeable based on past experience and current knowledge with reasonable accuracy: if I brush my teeth, it is reasonable to expect that I will get fewer cavities than if I did not.
The Wrong Dressing…
Sometimes the orange you buy isn’t ripe, or the salad you purchase doesn’t have the right dressing. You can bring it back and get a refund or buy another orange or salad. Sometimes no matter how much you brush your teeth, you get a cavity. And sometimes your friend texts you a half hour before lunch to cancels.
In the manifest world, events are sometimes out of our control and agreements are broken. That’s why we have contracts: to incentivize performance and provide a reasonable expectation of performance in the future. With incentive (cause) the seemingly chaotic world develops a certain stability (effect).
I was seeing my yoga practice as just another transaction. As with buying an orange, I assume that if I practiced hard and consistently enough, I would see a change in my mood, my health, and my overall happiness would improve. As if there were some sort of Rewards program that grants more freedom and happiness the more we meditate, perform religious rituals, and/or bend ourselves into pretzels.
This contract is made with our egos, “I” want to avoid suffering so I will practice āsana. I want to achieve enlightenment so I will meditate every day. If I practice this kriyā long enough I’ll feel refreshed when I am done.
Spiritual (not religious) work is done internally. By definition, it should always be under our control. So why is there no guarantee that the spiritual work you do today will pay off tomorrow? Because spiritual work is not transactional: if it were, we’d always have a return because we are the only ones that need to perform.
A refined spiritual practice transcends the ego and the deal-making we engage in with it. Part of that transcendence is letting go of expectations and the ego incentives that feed them. All of the practices and the effects of yoga happen only if I commit totally and let go of “I.” And the practice of letting go of “I” never ends.
In moments of union or yoga we experience totality. There is no lack. There is no restriction. We are liberated, filled with vast silence. This can last seconds, minutes, days, weeks, months or years depending on the effort involved, if we can let go of the ego and its tendencies.
And so there is no need for a contract in the first place; there is no lack to be fulfilled. But to do that there must be constant effort and a discipline that becomes devotion. Resistance that arises from conditioning must become love. So that the act becomes the gift itself in the present instead of something to be had in the future.
Hunger
If I am hungry, I need food to satisfy hunger. This is a basic function of the body. As long as the body is alive we must eat to keep it nourished. Hunger will always arise though, and needs to be dealt with (food is but one option, actually). There is no such biological prerequisite for the ego, however. And yet most of us feel there is, and this is one source of suffering.
The ego will never be satisfied, no matter how much you feed it. Ego hunger, like actual hunger, will never go away unless we transcend it through practice.
There is no causal/transactional link between the practice and the state of union or state of “no lack”. The practice is the state, and the state is the practice.
Transcendence as a result of practice involves moving past the perceived separation between cause and effect, between past and present, and present and future. A strong spiritual practice never ceases, there is no past and now and future. There is only now. And now. And now. And now.
We are humans and it is human nature to suffer, to make mistakes, to lie, to steal, to cheat, to hurt others just as it is human nature to tell the truth, give to others, to love and to forgive.
We have a great capacity for growth as well as destruction. That will never change. The gift of a spiritual practice is not the removal of depression, lying, cheating or suffering from your experience but the transcendence of how you perceive them.
As long as I perceive my yoga practice as something to be bartered with it will forever be one half of a transaction with my ego, and my suffering will only increase.
Image: Daniele Idini
Separateness
One need not be a Hindu or even a yogi to have a spiritual practice. Many faiths lead to a transcendence of the ego and cause and effect in the material world. Prayer, service, devotion and keen insight require total commitment of your being and isn’t just an intellectual exercise.
Much of the modern world is based on an intellectual concept – the presumed individuality of existence. Each of our bodies are a thing with a brain that controls it and heart that sustains it.
One aspect of this view is actually the contract: by definition, there must be two parties to a contract. So, we view each other as separate and separate ourselves on a daily basis, many times a day. This point of view will always lead to internal and external conflict because conflict requires two parties as well.
Separateness is one of the great illusions of the modern world. It is a belief that is reinforced again and again. A belief is an intellectual understanding based on assumptions. You see this everywhere. People “believe” in lots of “things.”
Again, two parties must exist: me and the concept. This is totally different to Faith. Faith is a knowingness, a surrender to what is: that there is no separation.
In a state of Oneness there is no contract. There is no conflict. It takes discipline to overcome the feeling of separateness created by our conditioning and our ego. That constant discipline is devotion. In that state of constant effort, we are free from the suffering of separateness.
And so my friend was also wrong. It was the practice which led me to these insights about my condition. All the benefits of a spiritual practice happen now, not sometime in the future as a return on the investment of your practice.
The promise of yoga IS the sustained practice: be that pranayama, meditation, yamas and niyamas, āsana or puja. Yes, you may reach an enlightened state sometime in your life.
Yes, it may happen in the future. Yes, daily practice can make enlightenment more likely to happen. Yes, sometimes your friend cancels and you are disappointed. Yes, sometimes you will feel like you want a spiritual refund. But that’s not the point. A spiritual practice, once started, never ends. It is action, not passively waiting for suffering to end.
