Author: Harry

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Culture

Translations From The Night by Jean-Joseph Rabearivelo

Rabearivelo was a poet writing in Madagascar in the 20s and 30s — he killed himself in 1937 at the age of 36. He wrote in French; some of his later poems claimed to be translated from Malagasy, but according to this anthology’s introduction, the evidence suggests it was the other way round: that he wrote them in French, produced Malagasy versions, and then lied about it.

Initially at least he wrote squarely in the mainstream of French poetry at the time — again this is according to the introduction, I don’t know enough about early C20th French poetry to judge — but later he took more influence from local traditions, as evidenced by the way he pretended his poems had been translated from Malagasy.

This anthology includes a few examples of his early work but is mainly selected from three later books: shortish free verse lyrics from Presque-Songes (‘Near-Dreams’) and Traduit de la Nuit (‘Translated from the Night’); and short prose pieces from Vieilles Chansons des Pays d’Imerina [‘Old Imerinan Songs’].

The Madagascan influence is not especially obvious, to me at least, in the lyrics; there are a few references to lianas, cassava, coral, and so on, but most of the imagery seems to be very universal: twilight, stars, birds, flowers, bulls, the sun, the moon. I’m sure I’m missing things, since the book is blissfully free of footnotes; which is nice, because footnotes can feel a bit naggy and joyless, but on the other hand, when it says something like

What invisible rat
out of the walls of the night
is gnawing at the milk-cake of the moon?

it could for all I know be a reference to some Malagasy folk-story, or it might just be a ‘normal’ poetic image. And ‘gateau lacté‘ might be some kind of local dish, or it might just mean that the moon is round and white (if it is a real dish, a quick googling provides no evidence for it).

The local influence seems more obvious in the prose, which not only has more local colour but has something of the flavour of traditional story-telling to it. Here’s an example (this is the entire piece):

 – Who is there? Is the Woman-whose-footsteps-echo-the-livelong-days? Is it the Woman-who-is-hard-to-question?
– It is not the Woman-whose-footsteps-echo-the-livelong-days nor the Woman-who-is-hard-to-question! But I am the wife of another, and the livelong days I must know my place. Besides I am the wife of another, and when someone tells me our secrets I am not at all pleased. So plant one root of a fig-tree: perhaps its shadow would make me come. Plant a few roots of castor-oil tree: perhaps then you might be able to hold me. I would rather walk a long way to get my pitcher filled than take away a half empty pitcher with no waiting!
– Offer me green fruits and I will offer you bitter ones.

Questions of ethnology and influence aside, I quite enjoyed it as poetry, although I always struggle with poetry in translation: I assume I’m missing something and try to give everything the benefit of the doubt, but it does feel like watching TV through smoked glass sometimes.

At least in this case I had the French parallel text, but my long-withered schoolboy French was never good enough to assess poetry. It is good enough to find a few spots where the translation seemed a bit odd: repetition in the French which wasn’t reproduced in the English, long sentences in French which were broken up in translation, slangy dialogue in English which seemed less slangy in the original. Small things, really, but they just undermine your confidence a bit.

Still, it was interesting and enjoyable enough to be worth reading.

Translations From The Night: Selected Poems Of Jean-Joseph Rabearivelo is my book from Madagascar for the Read The World challenge.

» Because it’s a book from Madagascar, I decided to use a picture of a lemur. There are no lemurs featured in Rabearivelo’s poetry. More’s the pity.

Funny Lemur is © Tambako The Jaguar and used under a CC by-nd licence.

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Culture

Damien Hirst at the Tate

So I went along to see the big Damien Hirst show at Tate Modern.

It rather lacked the element of surprise; whatever Hirst’s other qualities, he is a great self-publicist, so anyone living in the UK with an interest in art is already very familiar with his work. His earliest student pieces were new to me; apart from that I think there was only one work in the whole exhibition which I didn’t immediately recognise.

I didn’t come out of this feeling very enthusiastic. Sometimes you go into a big retrospective, and seeing all the work together makes it more powerful: because you can see the threads running through the work, or the development, or you absorb the artist’s aesthetic and gain a deeper sense of what they’re trying to do which you don’t get from individual paintings.

I think the opposite is the case with Damien Hirst. His work often works well in a mixed exhibition: it has a clear, simple quality to it and a designery aesthetic which helps make it stand out when it needs to compete for your attention. But when you put a whole lot of his pieces together, it starts to seem obvious and corporate and a bit dull.

You can see why Hirst became so commercially successful: his work is instantly recognisable, easily produced in large quantities, and looks modern without being too difficult or threatening. Just as Abstract Expressionism was the perfect art for big corporations in postwar America, when they needed something modern looking to hang in the lobbies of their shiny new glass and steel office buildings, so Hirst was the perfect artist for the time before the crunch. Ideal for people who find themselves with a startling amount of money but who don’t have much confidence in their own taste. Like Prada or Bentley or Patek Phillipe.

And why not, after all. He didn’t create the madness of the art market, he just did a very good job of exploiting it. And he’s used his money to build up his own big collection of contemporary art, which I believe he’s planning to open to the public. So I approve of that.

And despite the grumpy tone of this post, I don’t dislike his work — but seeing a whole load of it one place made me like it less rather than more.

» The picture is Psalm 23: Dominus regit me. Butterflies and household gloss on canvas, 2008.

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Other

Barclays: why no criminal prosecutions?

After the credit crunch, it was very natural to think that surely someone somewhere ought to be punished for what happened.

But I was open to the argument that what had happened was a combination of incompetence, greed, systemic failure and macro-economic forces, rather than actual fraud — or at least that fraud was a small part of the story. And so it was not a matter for the criminal law.

And then this Barclays case comes along. And we have what, as far as I understand it, is a straightforward case of people conspiring to lie about important financial information in order to manipulate the market… and still no one is apparently facing criminal prosecution.

It’s not just that it would be satisfying to see a few City wide boys up before a judge. It’s that it makes you wonder how much other potential criminality has been left uninvestigated or unprosecuted for some reason. Because it’s easier to let sleeping dogs lie? Because fraud cases are expensive to investigate and prosecute? Because the authorities are still so worried about the fragility of the financial system that they’re scared of rocking the boat? Because of the same combination of cosiness and intimidation that stopped the police from investigating phone hacking properly?

The whole thing stinks.

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Culture

To Sir, With Love by E.R. Braithwaite

I knew that To Sir, With Love was a book about a black Caribbean man struggling with racial prejudice in 1950s London, so I was quite amused that the opening — his description of travelling on a bus full of East End women — reads so much like a white colonial Briton describing the natives of a third world country. It’s the combination of effortless cultural superiority and an anthropological eye.

The women carried large heavy shopping bags, and in the ripe mixture of odours which accompanied them, the predominant one hinted at a good haul of fish or fishy things. They reminded me somehow of the peasants in a book by Steinbeck – they were of the city, but they dressed like peasants, they looked like peasants, and they talked like peasants. Their cows were motor-driven milk floats; their tools were mop and pail and kneeling pad; their farms a forest of steel and concrete. In spite of the hairgrips and headscarves, they had their own kind of dignity.

They joshed and chivvied each other and the conductor in an endless stream of lewdly suggestive remarks and retorts, quite careless of being overheard by me – a Negro, and the only other male on the bus. The conductor, a lively, quick-witted felllow, seemed to know them all well enough to address them on very personal terms, and kept them in noisy good humour with a stream of quips and pleasantries to which they made reply in kind. Sex seemed little more than a joke to them, a conversation piece which alternated with their comments on the weather, and their vividly detailed discussions on their actual or imagined ailments.

There was another particularly fine example of the type later on the book:

I did not go over to him: these Cockneys are proud people and prefer to be left to themselves at times when they feel ashamed.

It could be a conscious literary decision to subvert expectations, but firstly Braithwaite doesn’t particularly strike me as that kind of writer — he’s generally pretty direct — and also I can imagine a white British writer with a similar educational background writing in much the same way; like Orwell’s representation of the proles in 1984.

In other words it’s partially a class thing; Braithwaite was from a very educated background; both his parents went to Oxford, which I assume was pretty rare in Guyana at the start of the C20th, and he studied in New York before serving as a pilot in the RAF during the war and then doing a Master’s degree at Cambridge. But then race is always partially about class. The class structure is one of the ways that racial status can be monitored and enforced. And it was only because of Braithwaite’s race that he was doing what no similarly educated white Briton would be doing: working as a teacher in a grotty East End secondary school. He was rejected from all the engineering jobs which he was better qualified to do, often on explicitly racial grounds in the days when it was legal to tell people that to their faces, and fell into teaching because it was the only option available.

So that’s the set-up: educated, well-dressed black man takes a job teaching in a run-down East End school full of problem teenagers. And if you’ve ever seen a movie where an inspiring teacher goes to work in a deprived inner city school, you pretty much know how the rest of it plays out: he is stern but wise and passionate, and he overcomes their initial hostility and prejudice to teach them the value of education and good manners, and above all he teaches them self respect. And he in turn learns his own lessons, about not being such a snobby prude (although he doesn’t learn the lesson that if you’re a grown man writing about fifteen and sixteen year old girls, there are only so many times you can mention their breasts before it starts to seem a bit creepy).

I’m being a bit glib; there is a lot that’s interesting about this book, and it’s well written. But when I say it’s like a Hollywood movie: it really does read like that. And of course you wonder if it’s too good to be true. Clearly he is an impressive man, and I can believe he was an inspiring teacher, and I expect the broad outlines are all true… but for something which claims to be non-fiction, it just seems like it was written by someone who was willing to burnish the truth for the sake of a good story.

It’s not that I fetishise historical accuracy for its own sake — I don’t have much objection to things like characters being composites of several people — but I do worry that I’m getting a less perceptive, less insightful book if too many if the complications and contradictions have been tidied away.

To Sir, With Love is my book from Guyana for the Read The World challenge. I seem to have been harder on it than I really intended. I think it’s probably fairest to say it’s a good book which has aged badly. But there’s still plenty to like about it.

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Other

The weird existence of tax havens

Tax avoidance/evasion is in the news again, and once again I find my mind drifting back to that book Treasure Islands, which I read a year ago and stuck with me since. Because a lot of these issues of tax policy are inevitably messy and complicated, both ethically and as a matter of pragmatic policy; but there is one particular point I keep returning to.

Which is this: when you think about it, it’s a bit weird that tax havens are allowed to exist. Because all those ‘companies’ which are just a pigeonhole in a lawyer’s office in the Cayman Islands? The only reason they exist is for the explicit purpose of escaping the laws and regulations of another country.

That’s not intended to be a rhetorical flourish; it is, as far as I can tell, a simple statement of fact.

If a company does its business in the UK but has part of its corporate structure registered in the Cayman Islands*: they are trying to avoid laws passed by a legitimate democratic government. To get pompous for a moment, they are rejecting the democratically expressed will of the British people.

They might be doing it to avoid tax, they might be looking for lax financial regulation, they might be trying to disguise corporate fraud or launder the proceeds of organised crime. All you know for certain is that they intend  to avoid the law.

So why do we put up with this crap? The Caymans, the British Virgin Islands, the Turks and Caicos, Jersey, Bermuda, Guernsey, the Isle of Man, Luxembourg: it’s not a list of great global powers that we need to tread carefully around because of their terrifying military and economic influence.

The EU and the US could simply† refuse to recognise the legal validity of companies and trusts registered in these countries. No doubt clever accountants and lawyers would still find ways to avoid paying tax, and to launder money, including of course the most direct way of avoiding tax: lobbying politicians to change the tax code in your favour. But I don’t see why we should make it any easier for them than necessary.

* or a trust in the Turks and Caicos, or Guernsey, or whatever it might be.

† Well, OK, it might not actually be ‘simple’. But I’m sure we could come up with something.

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Olympic opening ceremony: first impressions

From the beginning I’ve said that, although I was excited about London getting the Olympics, one particular worry was that the opening ceremony would be cheesy, amateurish or otherwise rubbish. We ought to be able to do it — there are plenty of people in the UK with expertise in putting on a show, whether it’s a West End musical, a pop concert or a Harry Potter film — but recent examples like Euro 96 or the Commonwealth Games have not been encouraging.

Well, the first details have been released. The ceremony is going to open with a recreation of the British countryside, with real grass, real trees, real farm animals, tractors, cricket being played, a recreation of Glastonbury Tor, and two ‘mosh pits’, one to represent Glastonbury Festival and one for the last night of the Proms.

So what do I think? I guess I’m cautiously positive. It’s an idea which, if it’s done well, could be impressive and memorable without trying to compete with Beijing for sheer megaspectacle. It could be a bit twee, but it could also be fun.

But that cautious enthusiasm is subject to the assumption that what they’ve told us so far is not the full story. I’m all in favour of warm beer, sheepdogs and cricket, but it would be very weird, in the 21st century, to present the UK as a rural idyll. There has to be some kind of indication that we are an urban, multicultural, modern nation. The games are being held in east London, not the Cotswolds: we don’t want a Midsomer Murders opening ceremony, whitewashed for the sake of cosy nostalgia.

But I think the organisers know that. So let’s trust that they have a few surprises up their sleeve.