Pears

Ripening Pears first appear in late summer only to disappear early winter.

The current World recession has resulted in economic hardship and unemployment for many. However, the suffering engendered by natural disasters such as the Haiti earthquake earlier this year, the floods in Pakistan and China in which millions of people face enormous challenges of survival are quite simply beyond the imagination and endurance of much of Western society. Such natural disasters firmly place mere economic hardship into perspective.

One wonders how many individuals in Western society who continue to enjoy a comfortable life-style could ever begin to cope with the suffering faced by those experiencing natural disaster. And yet our comfortable life-styles are often maintained by exploitation, inflicting great suffering upon innocent fellow humans, even if geographically remote, in the form of Warfare, military occupation of land and unfair trading conditions.

The Renaissance physician and alchemist Paracelsus possessed a deep insight into human nature. He was not only a radical doctor but also a theologian as profound as Luther; even though much of his writings remain untranslated from an obsolete Middle German dialect; nevertheless Paracelsus made important observations upon human nature worthy of contemplation.

The following quotation is exemplary of Biblical and alchemical notions of the trial of metals being likened to the testing of the human soul.

It is in extremis, things reveal their nature and become visible; then we can say: he is an upright man, a steadfast man, he manifests his inner being.....One man reveals more traits of loyalty and less of disloyalty; one man is to a large extent this, another man that. Therefore we should keep an eye on the outward characteristics which nature gives a man by shaping him in a certain way. For nature shapes the anatomy of a pear in such a way that the pear develops into a pear tree; and she creates a medlar's anatomy, in such a way that it develops into a medlar bush; and the same is true of silver and of gold. Nature also forges man, now a gold man, now a silver man, now a fig man, now a bean man.



Quotation from -Parcelsus Selected Writings ed. Jolande Jacobi Princeton Uni. Press 1951

The Kingdom of this World

I've just finished reading the El reino de este mundo, 'The Kingdom of this World' (1949) by Alejo Carpentier. 

Alejo Carpentier (1904-1980) was a Cuban writer and musicologist who lived in Europe from 1928-38. He returned to Cuba in 1939 to marry but disliking its political atmosphere chose to live in Venezuela instead. When the Cuban revolution occurred in 1959 he returned to become Vice-President of the National Council of Culture, Professor of the History of Culture and eventually Director of the Cuban State publishing House.

Carpentier's novella (112 pp.) is set in Haiti at the end of the eighteenth century. It describes the events in which African slaves fought French colonists for their freedom and human rights to establish a short-lived Black Republic. It's written from the perspective of the protagonist Ti Noel, a black slave who witnesses the events in Haiti first-hand.

Although Haiti achieved independence in 1804, the protagonist Ti Noel realizes that the newly-formed Republic is in some ways even worse than colonial rule, 'for the colonists... had at least been careful not to kill their slaves, for dead slaves were money out of their pockets'. Whereas in the new Black Republic the death of a slave is seen as an easily replaceable commodity, the high-birth rate ensuring a constant supply of new slaves. Thus as it ever was, the cry to defeat tyranny with freedom is replaced by the new ruling elite's justification of a new form of tyranny.

Alejo Carpentier's left-wing viewpoint on the human condition argues that-

....a man never knows for whom he suffers and hopes. He suffers and hopes and toils for people he will never know, and for who, in turn, will suffer and hope and toil for others who will not be happy either, for man always seeks a happiness far beyond that which is meted out to him. But man's greatness consists in the very fact of wanting to be better than what he is. In laying duties upon himself. In the Kingdom of Heaven there is no grandeur to be won, inasmuch as there all is an established hierarchy, the unknown is revealed, existence is infinite, there is no possibility of sacrifice, all is rest and joy. For this reason, bowed down by suffering and duties, beautiful in the midst of his misery, capable of loving in the face of afflictions and trials, man finds his greatness, his fullest measure, only in the Kingdom of This World.

Carpentier is credited with coining the term lo real maravilloso (roughly the "marvelous reality") in the prologue to 'The Kingdom of this World' and the novella is often cited as one of the very earliest examples of the genre of 'magic realism', in which reality and elements of fantasy are mixed to produce a cocktail of highly imaginative literature. Carpentier's familiarity with the Surrealist movement while living in Paris, his admiration of the Spanish author Miguel de Cervantes, his left-wing politics, interest in Voodoo and ethnicity, all amalgamate in 'The Kingdom of this World' to produce what is seen by many as one of the earliest examples of 'magical realism' writing.

The Argentinian author Jorge Luis Borges is credited as one of the key innovators of 'magic realism' writing in which aspects of reality are blurred with magical elements. The Colombian author Gabriel Garcia Marquez's novel 'One hundred years of solitude' (1967) is also often cited as a seminal example of this genre. However, although 'magic realism' is frequently associated with the literature of South America, the human imagination transcends national boundaries.

Other novelists who have utilized elements of 'magic realism' in their writing include (and this inventory is far from inclusive) the Australian novelist Peter Carey's 'Illywhacker' (1985), Salman Rushdie's 'The Satanic Verses' (1988), Patrick Suskind's 'Perfume' (1985), Gunther Grass' 'The Tin Drum'(1959) and not least, the supreme worlk of Russian magical realism, if not the 20th century, Mikhail Bulgakov's 'The Master Margarita' (1940).

But in fact the employment of 'magical' or 'fantastic' elements in modern Literature, in particular English Literature can be traced as far back as Jonathan Swift's' 'Gulliver's Travels' (1735). 'Fantastic' or fantasy elements pervade English literary works, especially literature loved by children and adults alike, including Lewis Carroll's 'Alice in Wonderland' (1865), and Kenneth Grahame's 'The Wind in the Willows' (1908) .

Personally, dare I propose it, one of the greatest of all 'magical realism' writings is by an author whom Jorge Borges was a great admirer of, Sir Thomas Browne's 'The Garden of Cyrus' (1658). As T. S. Eliot long ago realized, 'Mankind cannot bear very much reality'.

Bus in a Hole

1988 - A surprise stop for the passengers of the number 26.
No-one was hurt.

Perhaps I should not have mentioned the other day that geologically Norfolk is predominantly composed of chalk, (Aug 7th post) because a new hole has now appeared in a Norwich road some 9 feet deep! Memories from 1988 when a double-Decker bus fell into a hole have now resurfaced. This world-famous image of an extraordinary event is well worth seeing again aS visible proof that living in Norwich can sometimes be exciting!

Norwich in fact  is renowned for having subsidence problems. Not only does it have many chalk mines, but also a network of tunnels underneath its streets and buildings, including more undercrofts than any other UK city.

It's possible that the chalk mines of Norwich date from as early as the 11th Century. Chalk was mined underneath the City and extracted in great quantities to burn into lime for mortar. Flint was also mined and used as stone for building. Mining tunnels known to exist under medieval Norwich can be found between 12 and 90 feet under the surface . They vary in size from 6 to 16 feet in height and from 6 to 12 feet in width . These tunnels and mines are often arranged in a grid-like pattern. City engineers have to regularly inspect these tunnels in order to determine their condition and to prevent any further collapses.

The most investigated system of these tunnels is a 1600-feet-square grid maze of tunnels beneath Earlham Road. It was re-discovered in 1823; coloured lights were fitted and some of the large passageways were given attractive names such as Beehive Lane, Bacchus Street and Royal Arch. They were once a popular attraction for tourists and local courting couples to wander through.

A full history and record of the extensive underground passages, undercrofts and mines in Norwich has yet to be written.

The Supper at Emmaeus

Here's another painting Sir Thomas Browne may have viewed. 'The Supper at Emmaus' by Cornelis Engelsz (1575-1650).

Its a great example of the Dutch 'Golden Age', of painting, combining two of the most popular of all Dutch genres, Biblical scenes and still-life. The detail of the various supper items depicted in the foreground, bread, fish and meat is exceptionally realistic. The central message of the picture is in the stark contrast between the very public, lavish and earthy supper in the foreground, to the private, frugal and heavenly supper depicted in the dimly-lit background. The Resurrected Christ, having broken bread has just revealed his identity to two of his disciples. (Luke 24 verses 13-35).

'The Supper at Emmaeus' (1612) was owned by the lawyer and MP Nathaniel Bacon (1550 - 1622) who was knighted in 1604. He was the uncle of Nicolas Bacon (1623-1666) also of Gillingham Hall. As Browne was a friend and visitor of Nicolas, even dedicating his Discourse 'The Garden of Cyrus' to him. it's highly possible he could have viewed this painting when visiting Gillingham Hall. The painting was subsequently purchased from the Bacon family by Norwich Castle Museum in 2004.

Hydrangea

Hydrangea thrive upon chalky soil of which there's plenty throughout the low-laying county of Norfolk.

The large hydrangea shrub in my garden is certainly over thirty years old, maybe as old as my plum and pear tree, planted when the houses and gardens of Woodlands Estate were first established early in the 1950's. I personally associate the large flowering heads with happy summer days spent with my grandmother as a child.

The Oxford English Dictionary defines hydrangea as - a shrub with flowering heads of white, blue or pink florets, native to Asia and America. Origin, mod. L. from Gk hudro -'water' + angeion 'vessel' (from the cup shape of its seed capsules).

Oscar and Lucinda

Last night I watched the film 'Oscar and Lucinda' (1997) directed by Gillian Armstrong. Set in the middle of the 19th century, it's the story of Oscar (Ralph Fiennes) the son of strict Plymouth Brethren parents and Lucinda (Cate Blanchett) an independent-minded Australian entrepreneur.

When attending Oxford reading theology, Oscar is introduced to the joys of gambling, specifically horse-racing. Frequently lucky and believing himself to be inspired by divine providence, the bumbling and socially-inept Oscar persists in donating his winnings to the poor. Meanwhile Lucinda discovers a passion for glass and purchases a Glass-works with an inheritance. Oscar and Lucinda first meet aboard a ship bound for Australia. The pretext for their meeting is ostensibly for the purpose for Lucinda's confessional, Oscar having recently been ordained and emigrating. The pair soon become friends with a shared passion for card-playing. Oscar's justification for gambling is that of the famous wager of Pascal which argues that all Christians are gambling their souls in hope of God's existence, love and redemption.

Without wanting to post spoilers, the crux of the romantic drama concerns a wager between Oscar and Lucinda of their respective inheritances, that Oscar can transport a glass Church from Sydney to Bellingen on the North-west coast of New South Wales, a journey which involves the crossing of no less than six rivers and hazardous terrain.

Based upon the Peter Carey novel which won the 1988 Booker prize, 'Oscar and Lucinda' is a film which established Cate Blanchett's acting career. The other notable star of this film is, as with 'Picnic at Hanging Rock' (Dir. Peter Weir 1975), the stunning Australian scenery. 'Oscar and Lucinda' also highlights the basic living conditions of the early Australian colonists.

The residue of Protestant ethics continues to associate gambling as a sin, even among those whose morality is no longer determined by Christian ethics whatsoever. This is primarily due to the fact that during the 18th century a day at the races spent gambling was viewed as a threat to the established social order. A Lord attending Newmarket races could by the day's end be a pauper and a pauper could acquire the wealth equivalent to a Lord. Primarily for this reason alone, the notion of acquiring wealth without industriousness, circumventing the Protestant work-ethic, preachers railed from the pulpit against the 'sin' of gambling. And to be fair, there is a scene in the film which highlights the very worst consequence of ruination from gambling, namely, suicide. However, as Oscar fully realises, many aspects of life and love are in fact far from being certainties, but very uncertain gambles in most lives.

At the present time of writing the author Peter Carey, who has won the Booker prize twice, is priced at 5-1 to win the Booker again, with the Greek-Australian Christos Tsiolkas, author of 'The Slap', priced at a 9-1. Personally, I'm considering having a small bet that Carey wins the Booker Prize for an unprecedented third time. Just don't put your shirt on it !

Canoeing on the River Bure

Upper reaches of the River Bure

Yesterday I had a pleasurable afternoon canoeing with my mate Nigel upon the upper reaches of the River Bure, approximately ten miles north of Norwich. A real stress-busting day, thanks Nigel.

I thought I had finished with posts on birds until we disturbed a heron lurking by the river-bank. It flew past us flapping its giant wings like some antediluvian terradactyl!

Norwich-over-the-water

Anchor Quay and Saint Miles Bridge

The re-development of Norwich-over-the-water during the past 10 to 15 years has resulted in the transformation of a run-down and near derelict area of the City into a highly desirable residential location.

Standing on Saint Miles bridge looking north-west towards New Mills.

The Enemy of the Good

Everyone wants to change humanity but no-one wants to change himself. - Leo Tolstoy

Men never do evil so completely and cheerfully as when they do it from religious conviction.- Pascal (frontispiece quotations)

I recently read a novel by Michael Arditti entitled 'The Enemy of the Good' (2009). In essence it's a novel which highlights the on-going conflict between liberalism and fundamentalism and to a lesser extent, the relationship between art and religion.

The central characters are the Granville family who consist of Edwin, a retired Bishop who no longer believes in God, but continues to believe in the idea of God and the institution of the Church; his wife Marta, a survivor of the Warsaw ghetto and a distinguished anthropologist, and their two children Susannah and Clement.

Novels which debate upon contentious issues such as religious faith are few and far between these days. Ever since the scandalous debacle which followed in the wake of Salman Rushdie's 'The Satanic Verses' (1988) the battle-lines have been drawn up between adherents of liberalism and fundamentalism, resulting in artists being wary of, and fearing to offend the wrath of religious sensibilities; indeed it's with some trepidation that I myself attempt to discuss a subject which arouses stronger than ever feelings amongst some.

The beliefs of the Granville grown-up children Clement and Susannah are central to the novel . Clement, a gay artist with HIV, retains his progressive Christian faith whilst finding himself increasingly embroiled in controversy, hatred and suffering for his liberal views. His sister Susannah discovers her true spiritual identity by embracing the ultra-orthodox faith of Hasidic Judaism. These two siblings find it increasingly difficult to accept each others beliefs, as their relationship deteriorates, the view-points of liberalism and fundamentalism are clearly delineated in their spiritual and intellectual conflict. Articulating lines such as-

'Sex is one of God's greatest gifts to us. To reject it in favour of bloodless chastity is in a very real sense to reject God', and 'Fundamentalists don't think: they bray, they parrot' uttered by the gay artist Clement, clearly display which side of the fence his character represents, while his sister-in-law Carla, the widow of Clement's twin brother, unambiguously states-

'for people with no inner life, sexuality has become the all-important measure of authenticity'.

In this novel the author Michael Arditti has written a realistic portrait of religious faith in Britain today. It's a thought-provoking, lively, at times amusing, more often tragic, tale of a conflict which continues to grow in ferocity. I particularly liked Clement's astute statement upon how the all-pervasive internet has, and continues to erode aesthetic judgement -

'Memory lies at the heart of what it is to be human. In fact I'd go further: it's the reason we both need and respond to art. It's the part of our brain that creates and shapes narratives, that filters images, that draws analogies and chucks away inessentials.... Can it be an accident that, at a time when we're trusting less and less to our memories, we're growing less and less discriminating about art? We may have a world of information at our fingertips, but we've got fewer and fewer ways to assess it'.

Arditti's novel has received numerous glowing reviews far more articulate than anything I can write; the author Philip Pullman (b.1946, Norwich) for example stated of this novel -

' The Enemy of the Good' is a vivid picture of the religious life as it's lived among the conflicts and compromises of modern Britain. Michael Arditti has extended and deepened the vision that made (his) Easter so interesting, and he must be our best chronicler of the rewards and pitfalls of present day faith'.

I recommend 'The Enemy of the Good' to anyone who is interested in acquiring a greater understanding of the complex issues arising from the conflict between liberalism and fundamentalism today, albeit in the form of an entertaining and extremely well-written work of fiction.

In an age which remains obsessed with nationalism, despite two world wars which devastated Europe, I also recommend Arditti's short statement upon a vision of a united Europe.

Glorious Goodwood

Time to enjoy summer on the Sussex Downs for the 5 days of the Glorious Goodwood meeting; awash with strawberries and cream, Pimms, Panama hats, classy fashion and of course, classy thoroughbred horses, at what must be the most scenic of all British race-courses. Sadly, I'm only there in spirit this year, following the meeting on TV.

Vulture

The last in a short series on the symbolism of birds, in particular, in comparative religion and alchemy.

Because it devours corpses, the vulture has often been given a bad press; however, in ancient Egypt it was identified with the goddess Isis and represented the cycle of death and rebirth. In the Grecian-Roman tradition it was seen as a bird of augury, and like the swan and raven, it was considered sacred to the god Apollo because it provided omens.

In his contemplation of religious rites for the dead, Sir Thomas Browne noted in his Discourse, Urn-Burial  (1658) -

And the Persees now in India, which expose their bodies unto Vultures, and endure not so much as feretra or Biers of Wood.........

Browne was a keen scholar of comparative religion. His mention of the prophet Zoroaster and the Persee's, migratory adherents of the Zoroastrian religion, is in fact the earliest recorded in English literature.

The vulture is encountered once more in Browne's writings, this time in his surreal catalogue of books, pictures and objects entitled Museum Clausum,

A noble Quandros or Stone taken out of a Vulture's Head.

The 'noble stone' visualized by Browne may well originate from Biblical symbolism in the form of the wisdom of the book of Job. Written in the form of poetry, the book of Job is one of the oldest and profoundest spiritual texts to deal with the problem of Man's suffering. It was well-known to pious alchemists. The Bible, however much Christian Fundamentalists refuse to acknowledge it, in their denial of the discoveries of comparative religion, (see Ostrich), contains both astrological and alchemical symbolism, including imagery of refinement and dross; whilst the 'testing' of human souls is likened to the testing of metals. Chapter 28 of Job contains an inventory of various precious metals and stones, including silver, gold, topaz, their material value to contrasted to spiritual wisdom. The Book of Job also includes the line -

There is a path which no fowl knoweth, and which the vulture's eye hath not seen. (v.7 KJV)

However, the puzzle of what is exactly a 'noble stone' or Quandros, is best solved by consulting the Martin Ruland's Dictionary of Alchemy, (both father and son were named Martin Ruland). The Rulands were theologically inclined Paracelsian physicians who served in the Court of Emperor Rudolph II of Prague. In their Dictionary of Alchemy (1612), a book which Browne owned, (Sales Catalogue page 22 no.119) a Quandros is defined as-

a Stone or Jewel which is found in the brain and head of the Vulture, and is said to be of a bright white colour. It fills the breasts with milk, and is said to be a safeguard against dangerous accidents.

 Ruland's dictionary definition of a 'noble Stone' is in all probability the source of Browne's Quandros. Such an object would be an extremely useful talisman!

Pelican

Today, while browsing through Sir Thomas Browne's miscellaneous writings, trying to find his assessment upon Peruvian cinchona bark, new to 17th century medicine and hailed as a 'miracle' cure of malaria, I came upon a short amusing paragraph worth reproducing as regards Browne's ornithological inclinations.

Among his numerous interests Browne was a keen bird-fancier. It's recorded that at one time he kept as a pet an owl, a bittern, an eagle and even an ostrich. A short tract upon Falconry survives, and he's also credited with coining the word 'incubation' into the English language. One wonders just how he found time to attend to any of his patients with his many hobbies!

I'm planning to add a page upon the many neologisms Browne coined into the English language soon. Anyway, here's the paragraph from a tract on the Birds of Norfolk which made me chuckle, nearly as much as seeing a photo of an octopus embracing a bottle of Ouzo. And no, a pelican did not fly over my garden today either! In his short tract on the birds of Norfolk, Browne writes-

An onocrotalus, or pelican, shot upon Horsey Fen, May 22, 1663, which stuffed and cleansed, I yet retain. It was three yards and a half between the extremities of the wings; the chowle and beak answering the usual description; the rest of the body white; a fowl which none could remember upon this coast. About the same time I heard of the king's pelican's was lost at St. James; perhaps this might be the same.

Far less funny is the plight this summer of thousands of American pelicans in the Gulf of Mexico, due to the oil disaster. Just innocent bystanders in the collision between human greed and nature. Over 612 Brown pelicans killed as a result of the spillage as of July 2010.

The Pelican was the name for a common piece of alchemical apparatus. Its function was 'the digestion of substances by long steeping in hot fluid to extract the essence'. The apparatus worked by reflux distillation - the substance under treatment was boiled and the vapour condensed in a glass head, it then flowed back again, causing a process of circulation.

Alchemical and Christian iconography often used the emblem of the Pelican as a symbol of Christ for it's self-sacrificing qualities. Browne was of course familiar with this emblem, opening the fifth book of his encyclopaedia, Pseudodoxia Epidemica with a discussion upon it, as ever attributing the antiquity of its symbolic roots to his beloved ancient Egypt, writing,

And first in every place we meet with the picture of the Pelican, opening her breast with her bill, and feeding her young ones with the blood distilling from her. Thus is it set forth not only in common Signs, but in the Crest and Scutcheon of many Noble families; hath been asserted by many holy Writers, and was an Hieroglyphic of piety and pity among the Egyptians; on which consideration, they spared them at their tables.

Green Woodpecker

The green woodpecker is a relatively rare bird, at least in urban settings. One rested on a branch in the garden this morning, before zipping off.

Comma

Polygonia c-album or the Comma butterfly. One flitted through the garden this afternoon. So-named because of the distinctive C-shape on its ragged-edge wing. Although my photographic guide to Butterflies of Britain and Europe (1999) states that it is a fairly common species, all species of insect, in particular bee's and butterflies, have greatly reduced in number in the last five to ten years.

Postscript: 5 days after posting this, the Daily Mail has the headline 'Half of UK's butterfly species 'threatened with extinction,' and a national week of Butterfly counting July 24th -31 st is announced !

Octopus

A new resident to the Aquarium!

In the news today is Paul the 'psychic' Octopus. The English-born Octopus who now lives at Oberhausen Sea Life Zoo in Germany, successfully predicted all seven of Germany's wins in the Football World Cup and also Spain's win, by correctly choosing between two sealed boxes. Statistically this is equivalent to predicting heads or tails eight times, odds of 1 in 128. The World Cup winning nation is now bidding for Paul to re-locate to a zoo in Spain. Humankind tends to get excited by the idea of a creature which exhibits psychic powers, forgetting that they too possess psychic abilities, which usually remain dormant and unused.

Octopuses are zoologically known as Cephalopods, (from the Greek kephale, head and pod, foot). They are classified as predatory molluscs like squids and cuttlefish. One of the most intelligent of all invertebrates, they are capable of using tools and solving problems, have three hearts, and can camouflage themselves instantly, changing their colour and texture to match their surroundings. As they are boneless they are even able to escape from aquariums, squeezing themselves into small spaces. Octopuses have short life-spans of only three or four years.

The Penguin Dictionary of Symbols states, 'the Octopus stands significantly for the monsters who regularly symbolize the spirits of the Underworld and even Hell itself. The Octopus also corresponds to the zodiacal sign of Cancer, (see Crab) and is opposed to the dolphin. This identification is not unrelated to the creatures 'infernal' aspect, the Summer solstice being the gate of the Underworld.

The Octopus is often viewed as a sinister and scary creature. However, like the snake and spider, also invertebrates which needlessly frighten, the Octopus is an exemplary symbol of the unconscious psyche, which, as the psychologist Carl Jung constantly reminded his reader, humanity ignores at its peril.

Norwich Castle

Perched high upon an ancient earthworks in the very centre of the City, Norwich Castle has dominated the city-scape for over 800 years. The Norman conquerors who constructed  both it and the Cathedral, affectionately nicknamed it Blanchefleur or White Flower. One can be sure that the local Saxon populace who paid tithes and taxes to their Norman conquerors would have called it something far less complimentary! The Castle has been a Museum for over 100 years now. Included in its Art Collection is Thorpe Water Frolic and The Paston Treasure.

The Castle Museum is presently hosting two temporary exhibitions, the first: Beatles to Bowie, the sixties exposed, is an exhibition of over 150 portrait photographs of pop stars including The Beatles, Jimi Hendrix, David Bowie and The Rolling Stones. I couldn't help noticing the average age of the people attending this exhibition was near, or at, retirement age, which suddenly made me feel very old! Anyway, it was very enjoyable looking at these now historical photographs. Almost all of the photo's exhibited seemed to be portraits of artists who, immediately a camera-lens is pointed towards them suddenly become extremely photogenic. Even a very young Marianne Faithfull, barely out of Convent school appears supremely photogenic.

Marianne Faithfull, The Salisbury Pub, London (1964) by Gered Mankowitz

It's a curious fact that the great great Uncle of Marianne Faithfull (b.1946) was none other than Leopold von Sacher-Masoch (1836-95) the Austrian nobleman and author of the erotic novel, Venus in Furs (1870). Through his surname and the subject-matter of his novel, the word masochism was introduced into the English language. Faithfull is also credited with introducing to Rolling Stone Mick Jagger the occult novel by Mikhail Bulgakov, 'The Master and Margarita' (1938), which inspired the Rolling Stones song, 'Sympathy for the Devil.'

The other temporary exhibition was perfectly complimentary to pop portraits; Flashback, a retrospective of the art of Bridget Riley (b.1931) .










Riley's optical canvases have always fascinated me ever since seeing one of her works reproduced on an early 1970's LP cover. Although Riley's art-work typifies the psychedelic era, she herself is quite uninvolved with such drug-induced illusions. Will Self has written a perceptive, if somewhat critical review of Riley's paintings. However it was good to be reminded that Britain was innovative in the 1960's in the world of visual art with pop artists including Riley as well as David Hockney, Richard Hamilton, Peter Blake and Norwich-born Colin Self contributing to Britain's 'Golden Age'.

Movement in Squares 1961

Here's another optical image which demonstrates that seeing is not always believing, or rather, how easily the human senses can be deceived.

Do not adjust your screen!

Tragedy of the Street of Flowers

Eça de Queirós circa 1882

I've just finished reading a novel by an author who is considered to be Portugal's greatest 19th century novelist, Eça de Queirós ( 1845 - 1900) author of 'The Tragedy of the Street of Flowers'.

'The Tragedy of the Street of Flowers' is a novel written circa 1875 but which has only come to light recently. Found amongst the deceased author's paper's in 1900, it was not published in Portugal until 1980 when the copyright of Queirós' writings expired. It was translated into English in 2000, a full century since the author's death. Queirós himself stated in 1877 of his novel -

'It's not immoral or indecent. It's cruel..the best, most interesting novel I have yet written... a real literary and moral bombshell'.

Before reviewing this novel a word of praise must be said for the role of translator. Where would we lovers of the novel, in the Babel-like din of World literature be without them ? A good translator can introduce new literature, transforming the reader's understanding of historical, cultural and social conditions throughout the world. They can even cast fresh light upon the inner dialogue and moral dilemmas of well-loved and enduring characters of World literature.

Without having to dedicate the formative years of one's life to mastering several languages to become a polyglot, the classics of European literature would remain a closed book were it not for the translator. From the Icelandic Sagas of the Dark Ages, to the grandfather of all European novels, Cervantes 'Don Quixote', to the psychological analysis of memory by Marcel Proust in his novel of recollections, to Mikhail Bulgakov's surreal satire upon Stalinist totalitarianism, 'The Master and Margarita', homage must be paid to the translator for their devotion of many hours, re-shaping the written word from one language to another. One grows fonder of the translator's skills with the passing of time, placing trust in recognised names for their meticulous precision, inspired insight and often sheer drudgery, to open windows to new works of world literature to the questing reader.

The winner of several awards for her translations, Margaret Jull Costa has breathed new life into Quiroz's novels, translating his witty dialogue and observations on Lisbon society with panache. Together the innovative publishing-house of Dedalus, along with Costa's modern translation and Eça de Queirós' prose combine to make 'The Tragedy of the Street of Flowers' a cracking good read, whether one is familiar with the aesthetics of the 19th century European novel or not. And although it has been called an unfinished or incomplete novel, 'The Tragedy of the Street of Flowers' assuredly does have a full and satisfactory ending.

The story of 'The Tragedy of the Street of Flowers' begins at a theatre in Lisbon with the appearance of Genoveva, a sophisticated and stunningly beautiful woman just arrived in Lisbon from Paris. The young law graduate Vitor da Silva falls in love with her at first sight and becomes a bitter rival to her present lover, Vitor's one-time friend, a wealthy Portuguese dandy named Damasco .

However Genoveva is in reality none other than a Parisian courtesan or high-class prostitute. Throughout the novel her cunning, true to her femme fatale nature, outwits and exploits both Vitor and Damasco, pitting them against each other, exploiting their generosity and lust for her.

In essence the novel concerns itself not only with the struggles and delusions of Vitor and his love for Genoveva but also with Portuguese society at large in Queirós' critical observation of the conceits, shallowness and prejudices of Lisbon society. This is apparent early in the novel when Genoveva throws a evening soiree. The party allows Queirós to parade before the reader an extraordinary gallery of characters from Lisbon society. It's here in the novel that the influence of the founder of the novel of social realism, Honore de Balzac, (1799-1850) author of a vast cycle of over 100 novels which depict the whole spectrum of Parisian society can be detected. Balzac's influence hovers over Queirós' own portrait of the faults, delusions and weaknesses of Portuguese society.

The main protagonist, Vitor reads Romantic authors such as Byron and Tennyson .His feelings throughout the novel, change as often as the wind. Vitor is the orphaned ward of a retired Judge, his Uncle Timoteo to whom his upbringing and care is entrusted.

The wooden-legged Uncle Timeteo is a strong and memorable character in the novel. He served in India where he lost a leg in a tiger-hunt. Extremely wise to the ways of the world, he reads The Times newspaper daily and is, like his creator, an Anglophile and mouth-piece for Queirós' own love of England. Queirós was that most rare bird by today's standards, a European Anglophile, who lived in Newcastle and Bristol as a diplomat for nearly twenty years.

In an era in which much of the world, often quite rightly, perceives English culture, society, and economics as not entirely salubrious, it's refreshing to be reminded of a time long ago when the English were admired, even if those actions are now defined as self-serving Imperial colonialism. Uncle Timon enthusiastically exclaims to Vitor-

'Do you know, Sir, what they've achieved in India? They created everything! Cities, railways, bridges, docks, navigable rivers, plantations. Before, when there was famine in India, they would die in their millions! And now they never lack for rice because the Englishman is there to give it to them'.

Without wanting to post spoilers, early in the novel Uncle Timoteo and Genoveva cross swords when Genoveva, mounted upon a horse, kicks a small child to one side in front of the elderly and honourable Uncle Timoteo. He immediately challenges her to a duel before shuffling to the novel's background when, at the story's denouement, he pieces together the shock Oedipal revelation which tragically affects Vitor's and Genoveva's love-affair.

Other notable characters in a novel full of original characters include the artist Camilo Cerrao, commissioned to paint a portrait of Genoveva, but forever theorizing and changing his mind upon the style, function and nature of art so much that little real painting is ever accomplished. Like much great art a strong vein of both comedy and tragedy runs throughout 'The Tragedy of the Street of Flowers.'

The French novelist Emile Zola claimed that Queirós was a greater writer than Flaubert, (well he would, wouldn't he)! And although Queirós has been compared to realist novelists such as Balzac, Zola and even Proust he is, as a reading of 'The Tragedy of the Street of Flowers' confirms, no mere pastiche of these 19th century Realist novelists, but an original voice of European literature in his own right. Queirós' greatest masterpiece is however considered to be 'The Maias' of 1888. It too engages in satirical observations upon the social pretensions of 19th century Portuguese society, specifically Lisbon society. I'm looking forward to reading 'The Maias' soon!

Heatwave

The south and east of England is presently experiencing a heatwave with the mercury hitting 30 celsius. One more warm night and day to go before it eases. Tomorrow is Norwich City's big civic day with the Lord Mayor's procession. This year the procession has been shifted forward to 5 p.m. instead of 6:30 p.m. I wonder if the organizers are now regretting that change of schedule in view of the predicted heat.

I like to watch this annual event as one can with a little discernment gauge the mood and wealth of the City by the quality and zest of the 70-odd floats that slowly trundle through the City. With an estimated crowd of 30,000 usually the largest assembly of people in the city centre in the year, the event's history can be traced back to the days of the medieval Guilds, associations of various trades and professions celebrating their relative autonomy. For over 400 years the procession was led by the 'Snap' dragon accompanied by the 'whiffler' a crowd-controlling civic who 'whiffled' or waved a sword in the air. Lewis Carroll in his nonsense poem 'Jabberwocky' uses the word thus-

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!









Modern version of the Norwich Snap Dragon.











Ancient Whiffler

Another literary reference to Whifflers can be found in Shakespeare's Henry V Act 5 where the line, "which like a mighty Whiffler 'fore the king, seems to prepare his way" occurs.

By far the best information on the tradition and costumes of Norwich Whifflers including a priceless photo of the 1951 Lord Mayor's procession led by mace-bearer and accompanied by two Whifflers can be found at Norwich Whifflers.

On-line dictionary definitions of the word 'Whiffler' deliver a bewildering number of interpretations from - 'One who whiffles, or frequently changes his opinion or course; one who uses shifts and evasions in argument; hence, a trifler' to -

'Whifflers, or fifers, generally went first in a procession, at length a name given to those who went forward merely to clear the way for the procession. In the city of London, young freemen, who march at the head of their proper companies on the Lord Mayor's day, sometimes with flags, were called whifflers, or bachelor whifflers, not because they cleared the way, but because they went first, as whifflers did."

Or even- 'an officer who went before procession to clear the way by blowing a horn, or otherwise; hence, any person who marched at the head of a procession; a harbinger.'

But the Whiffler's ancient historical roots may in fact go back to the early Saxon era as an armed attendant who cleared the way for a procession (from wifle battle-axe, from Old English wifel, of Germanic origin; the attendants originally carried weapons to clear the way) as I first stated, a kind of civic crowd-controller, sometimes genteel and humorous, other times not.

Confusion about the meaning of this word arises from the fact that it's both a verb and a noun; the verb to whiffle, as Carroll uses it as an onomatopoeic, like the sound of a sword or stick being swished in the air; and it's a noun, as a figure of civic authority as in, 'Look out! Here comes the Whiffler!' But now I'm beginning to waffle, it must be the heat. Waffle hmmm, now there's another interesting word.



Civic crier, three Whifflers and Snap Dragon 2009

Notre-Dame de Paris

Esmeralda and Quasimodo

Last night I watched 'Notre-Dame de Paris' on DVD ( TDK 1996). Based upon the famous nineteenth century novel by Victor Hugo, 'The Hunch-back of Notre-Dame' (1831), Hugo's story has undergone numerous adaptions in various genres throughout the centuries.

Roland Petit (1924-2011) has made a brilliant choreographic adaptation of Hugo's novel. Attracted to stories in which 'beings apart' be they wretched or hideous who fall prey to femmes fatales, the seductive face of death, as in his earliest masterpieces ' The young Man and Death', (1946) and 'Carmen (1949), it's not too surprising that Hugo's tale of love and death should attract the attention of Petit's choreographic skills.

The essentially menage-a-trois story of Esmeralda the gypsy girl, the Arch-Deacon Frollo and the hunch-back Quasimodo is given a fresh and original interpretation by the celebrated French ballet-master. First performed in 1965, Petit's ballet is a hybrid of traditional ballet and modern dance movement. In particular the hand and the many gestures its able to express is liberated by his choreography.

The part of Quasimodo is amazingly danced by Nicolas Le Riche. It requires some considerable balletic skill to dance the part of a deformed and alienated individual. It also adds to one's appreciation of how athletic and graceful the corps de ballet are. The vivid costume colours enhance the crowd scenes which are powerful and dramatic. Equally brilliant is the dancing of Isabelle Guerin as Esmeralda. The music composed by Maurice Jarre adequately supports the action without ever being original enough to be a focus in its own right. The staging at the Opera national de Paris incorporates stark but impressive sets. With a story which is set in medieval Paris, not so geographically remote from the Paris Opera House itself, Roland Petit's choreographic interpretation of Hugo's masterpiece is likely to remain in the repertoire of the National Ballet of Paris for a long time.

Oedipus Egypticus

frontispiece to Oedipus Aegyptiacus

The three door-step sized tomes of Oedipus Aegyptiacus are a triumph of printing, being over five years in completion (Rome 1652 -56). In Oedipus Aegyptiacus the Jesuit priest Athanasius Kircher sets out to explore the esoteric traditions of theosophical systems of Zoroaster, Orpheus, Pythagoras, Plato and the Chaldean and Hebrew Cabala. A good example of such comparative study can be seen in an illustrated page from Oedipus Egypticus elsewhere on this blog, of the differing cultural interpretations of the Zodiac.

In 1999 I was fortunate to attend an exhibition by the University Library of Geneva on Jorge Louis Borges. Included either as representative of Borges reading (or even his own copy I can remember no longer) was a full folio edition of Oedipus Egypticus no less. A delight to see in the flesh so to speak.The figure of Isis from Oedipus Aegyptiacus. She is holding a sistrum, an ancient form of rattle, associated with fertility rites. Her other names from comparative mythology are listed to her left.

Athanasius Kircher (1602-80) has been described as 'the supreme representative of Hermeticism within post-Reformation Europe'. He was certainly one the 17th century's most active scholars of comparative religion. Kircher was also a favourite author of Sir Thomas Browne (1605-82) his near exact contemporary. The 1711 Sales Catalogue of Browne's library includes almost all of Kircher's entire oeuvre; in chronological order he once owned -

Ars Magnesia 1631
Ars Magna Lucis & Umbrae, cum fig. Rome 1646
Obeliscus Pamphilus, cum fig. Rome 1650
Oedipus Aegyptiacus 3 tomi cum fig Rome 1650-56
Magnes sive de Arte Magnetica, cum fig Rome 1654
Iter Ecstaticum Kirceranium, ed. G. Schott 1660
Mundus Subterraneous, cum fig 2 vol. Amsterdam 1665
China Illustrata cum fig. Amsterdam 1667

The English-born musicologist Joscelyn Godwin, one-time Professor of Music at Colgate University, New York State, describes Kircher thus -

'Kircher was a Jesuit and an archaeologist, a phenomenal linguist, and at the same time an avid collector of scientific experiments and geographical exploration. He probed the secrets of the subterranean world, deciphered archaic languages, experimented with alchemy and music-therapy, optics and magnetism. Egyptian mystery wisdom, Greek, Kabbalistic and Christian philosophy met on common grounds in Kircher' s work, as he reinterpreted the history of man's scientific and artistic collaboration with God and Nature'.

There's an interesting connection between Athanasius Kircher and Browne which has been little discerned by scholars. Sir Thomas Browne's eldest son Edward (1644- 1708) was a great traveller, often to the consternation of his parents. Wherever he traveled he acted as the eyes and ears of his stay-at-home father. When Edward Browne arrived in Rome he visited Kircher who showed him his 'closett of rarieties' which included a perpetual motion machine and a talking head.

It would have been near impossible for Kircher not to have known of Browne's Pseudodoxia Epidemica which had been translated into several European languages. One can only wish to have been a fly-on-the-wall in the meeting between Browne's dutiful son and the Jesuit theosophist. Kircher must have given Edward Browne a warm reception had he read commending statements upon his Egyptology in Pseudodoxia such as-

And then the learned Kircherus, no man were likely to be a better Oedipus (P.E. Bk .3 ch. 11 On Griffons)

Browne's high opinion of Kircher's knowledge of hieroglyphs was such that he could declare-

But no man is likely to profound the Ocean of that Doctrine, beyond that eminent example of industrious Learning, Kircherus (P.E. Bk 1 ch. 9)

Upon Kircher's authority Browne altered many of his own speculations upon Egyptian hieroglyphics; he even conceded to Kircher's authority as regards the reason why the tarantella dance is performed, believing in the healing remedy of music if bitten by a tarantella spider, writing-

Some doubt many have of the Tarantula, or poisonous Spider of Calabria, and that magical cure of the bite thereof by Musick. But since we observe that many attest it from experience: Since the learned Kircherus hath positively averred it, and set down the songs and tunes solemnly used for it; Since some also affirm the Tarantula it self will dance upon certain stroaks, whereby they set their instruments against its poison; we shall not at all question it. (P.E. Bk 3 ch. 28)

Kircher's vast work of comparative religion must have made a considerable impression upon Browne when composing 'The Garden of Cyrus' for the copper-plate etching in Oedipus Aegyptiacus known as the Bembine Tablet of Isis, a rich source of speculative comparative religion, is alluded to twice in the Discourse.

Frontispiece Iter Exstaticum Kircherianum 1660: Kircher is about to embark upon a cosmic trip led by the angel Cosmiel.

Another book by Kircher owned by Browne was Iter Ecstaticum Kirceranium (1660) edited by Kircher's devoted pupil Gaspar Schott. One of the strangest of all Kircher's books, it describes how, after listening to three lute-players, the German Jesuit was transported in an ecstatic journey through the planetary spheres. Iter Ecstaticum records Kircher's 'soul-journey' as he is led by the spirit Cosmiel through a cosmic ascent. It also refers to soul-journeys of antiquity such as Plato's Myth of Er and Cicero's 'Dream of Scipio', in which the cosmic voyager hears the heavenly music of the spheres, a cosmic harmony which Sir T.B. was also partial to hearing.

Kircher remained a firm fixture of Browne's reading throughout his life. When compiling an inventory of lost, rumoured and imaginary books, pictures and objects, his Museum Clausum sometime in the 1670's, it's the Jesuit theosophist who fires his imagination adding the pictorial item of-

Large Submarine Pieces, well delineating the bottom of the Mediterranean Sea, the Praerie or large Sea-meadow upon the Coast of Provence, the Coral Fishing, the gathering of Sponges, the Mountains, Valleys and Deserts, the Subterraneous Vents and Passages at the bottom of that Sea ; the passage of Kircherus in his Iter Submarinus when he went down about Egypt, and rose again in the Red Sea. Together with a lively Draught of Cola Pesce, or the famous Sicilian Swimmer, diving into the Voragos and broken Rocks by Charybdis, to fetch up the golden Cup, which Frederick, King of Sicily, had purposely thrown into that Sea.

Books on Kircher

* Athanasius Kircher - The last man who knew everything ed. Paula Findlen 2004 Routledge

* Athanasius Kircher - A Renaissance Man and the quest for lost knowledge Joscelyn Godwin 1979 Thames and Hudson

Vanessa Atalanta

The first Red Admiral (Vanessa Atalanta) spotted in the garden this morning. 

A little early in the season to arrive from their migration I would have thought, usually associating this butterfly with the month of September more than late June. However upon reference it is described as, 'a strong migrant, spreading northwards from the Mediterranean region each summer to breed. Adults hibernate and a few survive the winter in Britain'. It would have to be a strong insect to have survived last winter, the coldest for several decades!

Butterflies flit across the pages of 'The Garden of Cyrus', Browne, the keen lepidopterist observing, that the colour of the Caterpillar will shew again in the Butterfly, with some latitude is allowable. Nor can he omit the enquiry how Butterflies and breezes move their four wings from his speculations, even likening butterflies to flowers in the form of the Butterfly bloomes of leguminous plants.

It's also of interest to note that the Ancient Greek word for "butterfly" is ψυχή (psychē), which translates as 'soul', but also as 'mind'. There is of course a wealth of symbolism in literature throughout the world, both ancient and modern which alludes to the transitory, migratory nature of the butterfly, or as it was known as in the seventeenth century, the 'breeze-fly', being likened to the soul.

The Piano

Last night as part of my continuing comparative study between the film of the book , I watched 'The Piano' (1993). Jane Campion, (b.1954), the director of the film, is also author of the novella, 'The Piano'. Her novella, written after the film's making (1994), is in this case more of a development than an adaptation, adding new insights into the character's past history.

'The Piano' is a great triumph for several reasons. Most notably the combination of director Jane Campion's ten years dedication spent writing the story, and the actress Holly Hunter's portrayal of the emotions of the central character, Ada MacGrath, a role which consolidated Holly Hunter's acting career. She plays the part of Scottish pianist and mute, who arrives in New Zealand for an arranged marriage, little more than a mail-order bride. It's no small achievement to act a non-speaking role throughout an entire film and yet still be extremely expressive. The picture of the beautiful and broody Ms. Hunter wearing a Victorian bonnet is one of the film's great images. In addition to the fine acting of Holly Hunter which won her an Academy award, the supporting roles of Ada's frustrated husband and her lover are admirably realized by Sam O'Neill and Harvey Keitel respectively. The role of Ada's nine-year old daughter, Flora, earned Anna Paquin an award for supporting actress, the second youngest ever actress to win win such an award. The film is further enhanced by the lyrical music score of the composer Michael Nyman.

The triangular relationship between Ada, her husband Alisdair Stewart, and George Baines, is set against a backdrop of early colonial New Zealand, one of mud, deforestation and the indigenous Maori population. The film's plot is in essence an evolving love story which is propelled by two short scenes of sex and violence. There's also a good deal of subtle eroticism in the scenes which involve Ada and Baines in their negotiations over ownership of the piano, which itself is no minor 'character' .

Having also recently read the novella, 'The Piano' several interpretative points are worth mentioning. The film, unlike the book, engages in little of the book's internal dialogue other than Ada's short voice-over at its beginning and ending. The entire role of music and the emotion's which it evokes is naturally far less achievable in a novel, while the static nature of internal dialogue is less of a feature in most films. The viewer thus relies upon the acting skills of the central characters to explain why, for example, George Baines is entranced by Ada's piano-playing. But it is the near hypnotic ability of film to involve the viewer in a far greater immediate emotional response than reading can sometimes achieve, through the use of music, but also through graphic imagery, which strongly differentiates film from book.

In the case of 'The Piano' the music is an integral part of the story which further enhances empathy with the characters. The composer Michael Nyman (b. 1944) is quite simply the best of British composers, his previous collaborations with the film-maker Peter Greenaway, introduced him to a wide audience, and in fact the strong rhythmic impetus and gorgeous lyricism of his film-score has ensured that it stands as an enjoyable piano concerto in its own right.

By a curious coincidence like the film 'Respiro', which I reviewed in May 'The Piano' also involves a denouement in which the heroine is rescued and 're-born' in water surrounded by a small crowd of swimmers.

In many ways the success of the film 'The Piano' is the sum total of a harmonious artistic collaboration between director, actors and composer. It's a pity that more films are not so well constructed in direction, acting and sound-track.

Vuvuzela

Weapons of mass earsplitting destruction or harmless fun?

The vuvuleza is manufactured in a wide spectrum of colours, unlike opinion of it which is sharply divided between love and hate. It is currently receiving world-wide attention due to its contribution to the celebration of the football World Cup currently in session.

Its estimated that the one metre in length vuvuleza can emit a sound approximately 130 decibels loud; the most commonly manufactured instruments are pitched at B flat below middle C, very close to the frequency of human speech.

The BBC has received hundreds of complaints about the playing of vuvuleza spoiling viewers enjoyment of the sport, football players have requested fans to desist from its playing during the match and FIFA the organizational body co-coordinating the World Cup have decided not to ban it from matches.

There's considerable apian imagery associated with descriptions of its sound. Its constant drone being likened to having one's head thrust into a giant hive full of very angry bees.

The BBC sports commentator Farayi Mungazi stated that the sound of the horn was the "recognised sound of football in South Africa" and that it is "absolutely essential for an authentic South African footballing experience". He also said there was no point in taking the World Cup to Africa and then "trying to give it a European feel". The chief sports reporter of the Daily Telegraph Paul Kelso described critics of the vuvuleza as "killjoys" and said they should "stop moaning". South African football supporters themselves insist that the instrument is part of their national culture and claim those objecting to it are in fact being intolerant of an integral part of their national culture.

The phrase 'part of the national culture' seems to justify and vindicate all sorts of bizarre behaviour these days, from getting drunk on a Saturday night, to the waving of flags and engaging in war. Against a background of such behaviour the vuvuleza seems a harmless enough enthusiasm.

Its with some hesitation that I am filing this posting under the label of 'music', but then to some the compositions of Karlheinz Stockhausen, for example, barely equate as music. All that one can be certain of is that the world is becoming a place of highly subjective and arguementative opinion, with no centre or fulcrum upon which to establish that most elusive of human values, namely, truth, as regards this subject. One man's joyful sound is another man's irritating noise!

The Dream Life of Sukhanov

Recently I read 'The Dream life of Sukhanov' (2005) by Olga Grushin. Its the story of a man who possessing all the good things life can offer, a well-paid job as an art critic, a beautiful wife, loving children and perks such as a second home for the summer, a chauffeur-driven car and best tickets for the theatre, has to face the reality that he is neither loved, respected or valued as much as he imagines. The reader is obliged to pay close attention throughout the novel as almost imperceptibly the narrative slips between the present-day tragedy unfolding and Sukhanov's reminiscences of happier times.

Because Sukhanov has lived in Moscow throughout his life, certain places, doorways and streets, spark reminiscences. These reminiscences form a large part of the narrative, taking the reader back to earlier events in Sukhanov's life. However, there's a uncertain ambiguity writ large in the novel's title, for does Sukhanov's 'dream life' consist of the privileged, ideal life which is dissolving before his eyes, or his inability to desist from reminiscing about the past and happier times, his escapist 'dream life', when confronted with the crisis he faces .The plot drives onwards inexorably to a powerful, shocking and even slightly ambiguous denouement.

Sukhanov's great tragedy is that he takes everything for granted, toeing the party line in his art reviews by inserting commonplaces of communist aesthetics in his reviews, he has as modern parlance puts it, 'sold out'. However the novel is set in the year 1985, the year of Mikhail Gorbachov's policy of glasnost and perestroika and the dissolution of the communist old order.

There's much allusion in the novel to two 20th century painters, the exiled Russian painter Marc Chagall who died in the year the novel is set, 1985, and the surrealist painter Salvador Dali, representative of the 'decadent' art denounced by Shushkin as voice-piece of official Soviet party aesthetics. The surrealist art movement is also however representative of Shushkin's 'true' artistic creativity which he has abandoned for the trappings and prestige of official status. There's also significant allusion to Andrei Rubelev, the medieval Russian icon painter and the subject of a film by Andrei Tarkovsky.

'The Dream Life of Sukhanov' is extremely well-written in clear, concise and flowing prose. It is as the critics state, an astoundingly good first novel. Although written in English with its author now resident in America, it is utterly Russian in its theme of alienation and the role of the individual in society and history. I found it to be a deeply moving, at times funny, more often sad and ultimately challenging statement, on how the failure to face up to reality can destroy the individual's life.

Some highly recommended Russian novels

19th c.

Oblomov (1859) Ivan Goncharov
Fathers and sons (1862) Ivan Turgenev
The Idiot (1869) Fyodor Dostoevsky
Anna Karenina (1879) Leo Tolstoy
Brothers Karamazov (1881) Fyodor Dostoevsky

20th c.

The Fiery Angel (1908) Valery Bryusov
The strange life of Ivan Osokin (1915) P.D. Ouspensky
Petersburg (1916) Andre Bely
We (1921) Yevgeny Zamyatin
Heart of a dog (1925) Mikhail Bulgakov
Novel with cocaine (1934) M.A. Agev
The Master and Margarita (1940) Mikhail Bulgakov

21st century

A Hero's Daughter (1990 Eng. trans.2004) Andrei Makine