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The Hostage by Zayd Mutee‘ Dammaj

This Yemeni novel, in what I assume is a coincidental parallel to Orwell, was written in 1984 but set in 1948; it’s about a boy who has been taken hostage by the Imam to ensure his father’s political obedience and is sent to work as a duwaydar in the Governor’s palace. A duwaydar was a personal servant, a pre-pubescent boy who filled the role that would once have been given to a eunuch: being able to work in the women’s areas of the palace without any risk to their chastity.

However, the women of the palace do in fact seek out the boys in search of sexual gratification; this is a novel about loss of innocence, about people who are trapped (the women as well as the hostage), about a somewhat toxic intersection of emotional, sexual and power relationships. It is also, I think, a political novel in its portrayal of the Imams’ rule as decadent and arbitrary. And in the background political events are rumbling, although they only appear as echoes within the tightly circumscribed world of the novel.

I find it quite difficult to pick passages to quote for these posts — something which more or less stands alone and gives some idea of what the book is like. But anyway. Here, our hero has just smoked his first cigarette.

It left me floating in a daze, and all I could remember next morning was that my friend hadn’t stayed therewith me, because two women, neither of them Zahra, had taken him and sat on the palace steps, kissing him and squeezing further pleasures out of him. When he came back, I remember, he slammed the door violently behind him, then sank down to sleep more deeply than I’d ever seen him sleep before.

How difficult it was to wake up in this city, so different from the fortress in the mountains, with its fresh, invigorating air! In the city, you always seemed to wake with the feeling that you’d been beaten black and blue, with your body swollen like a drum or the stump of a palm tree and your eyes drooping. From the very beginning there was a lingering feeling of nausea and depression, and you didn’t usually feel the least desire for breakfast or coffee. All you wanted was cool water, and that was only to be found, if at all, in the soldiers’ jugs.

The Hostage is my book from Yemen for the Read The World challenge.

» Note on the author’s name: there doesn’t seem to be a consensus on how to transcribe Arabic words, and I’ve seen it written in various different ways [Zayd or Zaid, Muttee, Mutee or Muti]. Zayd Mutee‘ Dammaj is the spelling used in this edition; the author’s page in the Library of Congress catalogue is under Zayd Muṭīʻ Dammāj.

The picture is ‘the view of the village from a vindow of the Imam’s palace in Wadi Dhar’ and is © Franco Pecchio but used under a CC attribution licence.

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Culture

Waiting for the Wild Beasts to Vote by Ahmadou Kourouma

Waiting for the Wild Beasts to Vote is the life story of President Koyaga, the dictator of the (fictional) République du Golfe, as told to him by his court storyteller Bingo.

Bingo is in some ways the ultimate unreliable narrator, portraying Koyaga as a heroic, semi-mythical figure protected by powerful magic, but he is accompanied by an apprentice whose role is to speak truth to power. The result is a portrayal of post-colonial African politics which is brutal, and darkly comic.

It has the sprawling rhythms of oral storytelling, with its repetitions and parallelism, which makes it difficult to pick an excerpt which does it justice and is short enough for me to type out. But this will do: it’s a part of an account of Koyaga’s triumphal march across the country after surviving a coup.

At the entrance to a far-off village, the hunters take the initiative of offering you — since you are a sinbo, a donsoba (a master hunter) —  the shoulder of a slaughtered bubale. At the next village there are shoulders, haunches, heads. At the village after that, there is a stinking mound of animal carcasses of every species: deer, monkeys, even elephants. Above the pile, the canopy of trees is black with vultures. In the sky, carrion birds attack each other with terrifying cries. Packs of hyenas, lycaons, lions follow and threaten.

The order is given that hunters should no longer offer you the shoulders of game killed by the hunters that week, need not gratify the master hunter who is their guest as their code of brotherhood demands.

In another village, to set itself apart, the sacrificial  priest does not stop at two chickens and a goat, he offers four chickens, two goats and an ox to the manes of the ancestors. The sacrificial priests in neighbouring villages follow suit, they outdo him, they go too far. Soon there are twenty oxen and as many goats and forty chickens. The sacrifice becomes interminable, it is a veritable hecatomb. A call goes out for a limit to be set on the number of sacrificial victims.

Waiting for the Wild Beasts to Vote is my book from Côte d’Ivoire for the Read The World challenge.

» The picture, Sarakawa Crash Site, Togo, is © Julius Cruickshank and used under a CC attribution licence. Julius explains:

“A huge monument built in the middle of nowhere to celebrate a plane crash that the dictator of Togo survived in the seventies. The photos at the base of the statue (donated by the people of North Korea) are Eyadéma’s generals that died. 

The only other visitors were the goats on the left…”

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Culture

Francis Bacon at Tate Britain

I went to see the Bacon exhibition at Tate Britain today. And I enjoyed it, if enjoyed is the right word for work which is quite so bleak. He was an atheist who made a habit of painting crucifixions; and without the theology, a crucifixion is just a man being tortured to death.

Study of a Baboon 1953

So there were lots of trapped, screaming, contorted and frequently eviscerated figures, brutally unflattering portraits, and distinctly unhealthy-looking flesh. Which makes the work sound like some kind of chaotic stream of consciousness, but actually it seems tightly controlled: figures isolated in large plains of colour.

» Study of a Baboon, 1953, © The Estate of Francis Bacon/DACS 2008. Digital image © 2008, The Museum of Modern Art, New York. James Thrall Soby Bequest, 1979. Taken from the exhibition website, which is excellent as usual at the Tate.

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Culture

New York Public Library images online

There’s loads of good stuff in the NYPL digital gallery. I don’t really know any more about this lady except that she’s La Sylphe.

More after the jump.

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Culture

Rothko at Tate Modern

I went to the Rothko exhibition at Tate Modern today. The show is of his ‘late series’: the centrepiece is the Seagram Murals (i.e. the group of dark Rothkos which have been in the Tate for years, plus some related works that normally live in Japan), but there are also some other groups of works (the ‘Black-Form’, ‘Brown and Grey’ and ‘Black on Gray’ paintings) as well as related odds and ends.

'Red on Maroon Mural', Mark Rothko, Tate

It’s quite suggestive, I think, that the Seagram murals were commissioned for the Four Seasons restaurant in the new Seagram building in New York, and that they ‘never reached their original destination, after Rothko decided that a private dining room was an unsuitable environment to experience his paintings.’ Because with these big colour-field paintings there is always going to be a delicate path to tread between art and interior design. And indeed you can see why the restaurant might have wanted them: they would have added a touch of modernity and sophistication without actually challenging the air of hushed pomposity which is so important to an expensive restaurant.

But although they could serve as interior design, they are certainly more than that. They are seductive pieces, and they do reward patient contemplation. Partially that’s because they are much more carefully made than the simplest description of them might suggest: a painting may be, in the most reductive terms, a big maroon blob on a red background, but they have more presence than that. Apparently he painted them with many many layers of very thin paint, and they remind me slightly of fine Japanese lacquer; the way a plain red and black rice bowl can be a deeply desirable object because of the texture and way the light falls on it.

And despite what I said in my last post, and despite the funereal colour-schemes, they aren’t gloomy. They are whatever the antithesis of frivolous is — suolovirf — but half an hour spent in their company was restful rather than depressing. They are beautiful things: big, but subtle in their colours and textures.

Or at least the Seagram murals are; some of the others were less exciting, most notably the ‘Black on Gray’ works, all divided into an area of black at the top and pale grey below. Those ones managed to be exactly as boring as the description suggests.

» The painting is ‘Red on Maroon Mural’, from the Tate. I’ve taken it from the exhibition website, which as usual with the Tate, is very good, so do go and take a look.

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Culture

Mood music for the apocalypse

It seems weirdly fitting that the Tate’s two current big exhibitions are Rothko and Bacon. I don’t suppose that the Tate can take any responsibility for the gloomy state of the world’s financial market: I don’t think it’s all because City bankers are popping over in their lunch break and being given the willies.

I wonder, though, if you swamped the world’s financial centres with upbeat, cheerful stimuli, whether it would soothe the savage breasts of the money-men. Plaster New York with huge posters by Thomas Kinkade and Beatrix Potter; have Sesame Street and the Tellytubbies playing on big video screens. And all those glowing, scary tickers: don’t have stock values on them, go for zen koans and dirty limericks.