Categories
Culture

London Film Festival 2012, personal roundup

I do enjoy the LFF: interesting films, cinemas full of largely well-behaved audiences, and no ads or trailers. I went to five films this year, this is what I thought of them. Obviously.

Reality

An Italian film about a Naples fishmonger and petty criminal who becomes dangerously obsessed with appearing on the reality show Big Brother (or, strictly speaking, Grande Fratello). It’s funny and odd and well acted, and it looks terrific, with Naples providing a backdrop of decayed grandeur. I wasn’t completely convinced by the ending, but overall I thought it was really good.

Helter Skelter

A film about a hugely popular model with a dark secret: her looks are entirely produced by a radical, dangerous form of plastic surgery. On one level it’s a satire, but it does the classic exploitation movie thing of supposedly decrying our cultural obsession with youth and beauty while the camera lingers lasciviously on the face and body of the star.

The messaging is clunkingly heavy handed, and it’s stylistically and tonally very uneven, but it was good salacious fun. Personally I think it needed to be even more unapologetically salacious and exploitative; you could surely cut half an hour of the more ponderous stuff to give a tighter focus on the sex, violence and body horror.

Tey [‘Today’]

A Senegalese film about a man who, for reasons which are never explained, knows that he is going to die at the end of the day. Someone has seen it in a vision or something, and it’s somehow an honour, but it’s never made clear: all we know is that he’s not going to wake up the next morning. I don’t know whether this is a cultural trope that a Senegalese audience would find familiar, or if it’s intended to be as strange as it seems to me.

The film is then about what he decides to do with his last day; some of it mundane, some parts more profound, and all of it freighted with extra significance. Odd but quite effective.

Midnight’s Children

The film of what must be Salman Rushdie’s most popular novel, if not his most famous (somehow I don’t think that one is going to be made into a film any time soon).

It started off well, but lost me along the way. It’s a big fat complicated novel that takes place over multiple generations, and the film failed to hold it all together. It didn’t help that for much of the film, a lot of the heavy lifting is being done by child actors. And because the lives of these children, born at the moment of Indian independence, are supposed to parallel modern Indian history, we get that history explained to us with big dollops of expository voiceover.

Overall, though, it just seemed a bit one-paced. And considering the richness of the original novel and the fireworks of Rushdie’s prose, it was just a bit tame and conventional. Perhaps it was a mistake for Rushdie to write the script himself, or perhaps it needed a different director.

Village at the End of the World

An Anglo-Danish documentary about a village in Greenland. It’s a brutal environment, and life is marginal at the best of times, but also they are dealing with the closure of the small fish-processing plant that was their main source of income, and global warming is making the ice treacherous for hunting in winter.

It’s funnier and warmer than that makes it sound, mainly because they found some great characters. And it helps that it just looks amazing: bleak but beautiful, glowing in the summer, and of course completely dark in winter, with just the windows lit up against in the night.

It’s partially an environmental documentary, and partially a film about tensions between tradition and modernity, and a record of a life that will no doubt be very different, again, in a few years time. But above all it’s beautifully made and enjoyable to watch.

Categories
Culture

Whispering Death: The Life and Times of Michael Holding by Michael Holding with Tony Cozier

I enjoy watching cricket, so when looking for books from the West Indies for the Read The World challenge, it occurred to me that a few cricketers must have written books. But I had previously resisted that temptation; because it seemed like an unimaginative choice and, let’s face it, because sporting memoirs tend to be pretty dull.

But in a moment of weakness I ordered Michael Holding’s autobiography from 1993. Holding is one of my favourite cricket broadcasters these days: he seems like a thoroughly nice man, he talks well about cricket, and his rumbling Jamaican accent is one of the great voices in broadcasting. And Tony Cozier, who is a great radio commentator, is a good person to have as a ghostwriter.

Sadly, this book is indeed fairly dull. It’s not a bad book — in fact it’s probably better than average for a sportsman’s memoir — but it’s not one of the rare examples that transcends the genre. There are all kinds of ways one of these books could stand out: it could be funny, or psychologically insightful, or gossipy and indiscreet. But instead this is just a solid, professional bit of writing. Perhaps some of the opinions expressed were controversial at the time, by the mild standards of sporting controversy; but it’s no Ball Four.

In the last chapter, he mentions in an offhand comments that he has three children by three different women, only one of whom had been his wife; and you suddenly get a sense of all the things he hasn’t been telling you. Not that I particularly need to know about his love life, but it’s part of a broader professional discretion. And ‘discreet’ is not the most exciting quality in a memoir.

Michael Holding is from Jamaica, but Whispering Death is my book for Barbados, where Tony Cozier is from. Mainly because there are lots of good choices for books from Jamaica and not so many from Barbados.

Categories
Culture

Complete Works and Other Stories by Augusto Monterroso

Complete Works and Other Stories by Augusto Monterroso is my book from Honduras* for the Read The World challenge. It is a book of playful, idea-heavy short stories; the influence of Borges is mentioned in the introduction, but I think I would have made the connection even without that.†

It’s actually a translation of two books, Complete Works and Other Stories (1959) and Perpetual Motion (1972) which are somewhat different in character; the ‘stories’ in Complete Works are indeed actual narratives, however short, elliptical or open-ended, whereas many of those in Perpetual Motion are more like essays or aphorisms.

I’d got a bit stuck on reading my way around the world, basically because I had two or three books waiting to be read which didn’t appeal to me: I think I’m going to need a plane journey to Australia before I can face the enormous fat modernist novel, and I need a break from Very Serious post-colonial novels from Africa.‡ On that basis, the Monterroso was an excellent choice: well written, intelligent, serious enough but with a sense of humour and, let’s be honest, short. A nice easy tick to get the list moving again.

And since that’s a bit damning-with-faint-praise: I did enjoy this book. To make the invidious comparison, I think there’s a reason that he’s much less famous than Borges; he doesn’t have quite the distinctiveness or surprisingness. But if you like that kind of thing, you will probably like these too.

* As is so often the case, my boring pedantic soul requires me to clarify on nationality: Augusto Monterroso is usually described as a Guatemalan writer. But he was born in Honduras to a Honduran mother and spent his childhood up to the age of 15 moving between the two countries. And spent most of his adult life in exile in Mexico.

† And indeed before reading Monterroso’s essay about reading Borges.

‡ Not that I necessarily dislike serious post-colonial African novels, you understand. I’m just not currently very excited about picking up another one.

» Monterroso’s most famous story is ‘The Dinosaur’, supposedly the shortest ever written. The photo of an origami triceratops is © Emre Ayaroglu and used under a CC attribution licence.

Categories
Culture

Read The World challenge: status report, 2012

August 1st marked four years of the Read The World challenge. Last time I did a status report was two years ago: at that point I calculated that, at the rate I was reading them, it would take me another four years to finish.

Well, I’ve done the sums again, and at the current rate it’s going to take me… another four years. Hmmm.

However, leaving aside the fact that I don’t appear to be getting any closer to the finish line, I have read a few good books in the meantime — as well as some that were a bit of a chore.

The two outstanding books were Voices from Chernobyl, which is a fascinating, moving and poetic piece of non-fiction, and The Ice Palace, which is a poetic short novel about childhood and loss and winter.

The fact I use the word ‘poetic’ for both of my favourites says something about my literary biases. Or the poverty of my vocabulary.

Other books that stand out in my memory when I look back over the list (which may not be the same as saying they were the best books):

Born in Tibet and The Sands of Oxus were both interesting from a cultural tourism point of view more than for their literary merit.

Noli Me Tangere and This Earth of Mankind are good old-fashioned novels from the Philippines and Malaysia respectively. The Beautyful Ones Are Not Yet Born and Cities of Salt are somewhat more contemporary examples from Ghana and Jordan.*

Three good childhood memoirs: Shadows of your Black Memory is about growing up caught between Catholicism and traditional religion in Equatorial Guinea; The Devil that Danced on the Water is written by the daughter of a politician in Sierra Leone who spent much of her childhood in exile in the UK; and From the Land of Green Ghosts is about growing up in a remote part of Burma and being involved as a student in the 1988 political uprising that was brutally crushed by the government.

* Stylistically contemporary at least: I thought I should check, and was surprised to find Beautyful Ones was actually published before This Earth of Mankind. But even apart from the fact that This Earth of Mankind is set at the end of the C19th, it just feels like a much more traditional novel.

» The Mappa Mundi game is from the V&A.

Categories
Nature

Birds in London by W. H. Hudson (1898)

I downloaded this from Project Gutenberg after reading Hudson’s novel Green Mansions. The novel — a rather peculiar romance about a wild girl found living in the Venezuelan jungle — has has not aged particularly well; personally I found Birds in London much more interesting, although non-London non-birders will inevitably find it less so.

Some of it is interesting as colourful period detail; some of it simply as evidence of long term trends in bird numbers. Here’s a bit of period colour before I get onto the geekier stuff:

My friends, Mr. and Mrs. Mark Melford, of Fulham, are probably responsible for the existence in London of a good number of wandering solitary jackdaws. They cherish a wonderful admiration and affection towards all the members of the crow family, and have had numberless daws, jays, and pies as pets, or rather as guests, since their birds are always free to fly about the house and go and come at pleasure. But their special favourite is the daw, which they regard as far more intelligent, interesting, and companionable than any other animal, not excepting the dog. On one occasion Mr. Melford saw an advertisement of a hundred daws to be sold for trap-shooting, and to save them from so miserable a fate he at once purchased the lot and took them home. They were in a miserable half-starved condition, and to give them a better chance of survival, before freeing them he placed them in an outhouse in his garden with a wire-netting across the doorway, and there he fed and tended them until they were well and strong, and then gave them their liberty. But they did not at once take advantage of it; grown used to the place and the kindly faces of their protectors, they remained and were like tame birds about the house; but later, a few at a time, at long intervals, they went away and back to their wild independent life.

My reaction after a couple of chapters was that Hudson would be delighted by the number of birds that have returned to central London, and horrified by the number that have been lost from the surrounding countryside. And of course it’s a bit more complicated than that, but it’s broadly true. So, writing about small birds in the central parks (Kensington Gardens and Hyde Park, Green Park, and St. James’s Park), Hudson says:

Even the old residents, the sedentary species once common in the central parks, find it hard to maintain their existence; they have died or are dying out. The missel-thrush, nuthatch, tree-creeper, oxeye [great tit], spotted woodpecker, and others vanished several years ago. The chaffinch was reduced to a single pair within the last few years; this pair lingered on for a year or a little over, then vanished. Last spring, 1897, a few chaffinches returned, and their welcome song was heard in Kensington Gardens until June. Not a greenfinch is to be seen, the commonest and most prolific garden bird in England, so abundant that scores, nay hundreds, may be bought any Sunday morning in the autumn at the bird-dealers’ shops in the slums of London, at about two pence per bird, or even less. The wrens a few years ago were reduced to a single pair, and had their nesting-place near the Albert Memorial; of the pair I believe one bird now remains. Two, perhaps three, pairs of hedge-sparrows inhabited Kensington Gardens during the summers of 1896 and 1897, but I do not think they succeeded in rearing any young. Nor did the one pair in St. James’s Park hatch any eggs. In 1897 a pair of spotted flycatchers bred in Kensington Gardens, and were the only representatives of the summer visitors of the passerine order in all the central parks.

The robin has been declining for several years; a decade ago its sudden little outburst of bright melody was a common autumn and winter sound in some parts of the park, and in nearly all parts of Kensington Gardens. This delightful sound became less and less each season, and unless something is done will before many years cease altogether. The blue and cole tits are also now a miserable remnant, and are restricted to the gardens, where they may be seen, four or five together, on the high elms or clinging to the pendent twigs of the birches. The blackbird and song-thrush have also fallen very low; I do not believe that there are more than two dozen of these common birds in all this area of seven hundred and fifty acres.

Nearly all of those species can now be found in those parks. Not necessarily in huge numbers, but they’re all there, even the ones which had completely disappeared at the end of the C19th.

The only exception is the spotted flycatcher, which is a species that has declined by over 70% since 1970. When I was a child, we had a pair breeding in the garden in south London; I haven’t seen one around here for many years. And that points towards the other big pattern: the loss of birds in the countryside. Obviously the book is about London, but it does cover the suburbs where London blends into the countryside; which in 1898 meant places like Hampstead, Dulwich, Clapham, and Kew.

And Hudson’s lists for those places are a depressing reminder of how much we have lost. Tree pipit, redstart, wood warbler, barn owl, red-backed shrike, wryneck, turtle dove, partridge, nightingale, grasshopper warbler, cuckoo, yellowhammer, hawfinch, marsh tit: it’s extraordinary to think that all these birds were breeding within five miles of the centre of London. Some can still be found in a few places within the M25 if you know where to look, but some, like red-backed shrike and wryneck, are effectively extinct in the UK. Others, like the turtle dove, are probably going to join them sooner rather than later.

So, against this background of general decline, why are there more birds in central London than a century ago? Hudson blames the lack of birds in Victorian London on three main things: persecution, insensitive management, and cats. One thing he doesn’t mention, incidentally, is pollution. The fact that the Thames was too dirty to support many fish must have been one reason there weren’t any herons in central London, and it seems likely that the very smoky air would cause similar problems for birds, either directly or through an impact on insect numbers. And sometimes it must be that birds adapt to a new way of life: when Hudson was writing, the woodpigeon had recently changed from being a rural species with a few pairs in the older parks to a common London species. Perhaps there was some subtle change in the habitat, but it seems more likely that there was a change in the birds’ behaviour.

Of Hudson’s three suggested causes: well, there are still lots of cats in London, although there may be fewer strays, thanks to neutering campaigns and organisations like the RSPCA and Battersea Dogs & Cats Home. And habitat management has certainly improved; local councils and the Royal Parks now see it as part of their job to encourage wildlife. Even in the past ten or fifteen years there has been a change, I think, and it’s clear walking around London parks that the traditional urge towards tidiness has been replaced by a willingness to leave areas of grass uncut, to leave dead trees in place, to allow patches of brambles and ivy. And among the public as well, there is more interest in wildlife gardening and more people putting up nestboxes and feeding the birds.

But the biggest cultural shift has been to do with human persecution. Already the passages I’ve quoted make reference to jackdaws being sold for trap shooting and wild greenfinches being sold as cage birds; the book also refers to the popularity of bird’s-nesting (i.e. egg collecting). All those things are now illegal and, perhaps more importantly, socially unacceptable. And the credit for that has to go to people like W.H. Hudson, who was a founder member of the RSPB.

A lot of birds were also simply shot. Shooting some species of bird is still legal under some circumstances, either for food or ‘pest control’, but clearly both gun control laws and environmental protections are vastly stricter than they used to be.

The other story was of a skylark that made its appearance three summers ago in a vacant piece of ground adjoining Victoria Park. The bird had perhaps escaped from a cage, and was a fine singer, and all day long it could be heard as it flew high above the houses and the park pouring out a continuous torrent of song. It attracted a good deal of attention, and all the Hackney Marsh sportsmen who possessed guns were fired with the desire to shoot it. Every Sunday morning some of them would get into the field to watch their chance to fire at the bird as it rose or returned to the ground; and this shooting went on, and the ‘feathered frenzy,’ still untouched by a pellet, soared and sung, until cold weather came, when it disappeared.

The most obvious beneficiaries have been birds of prey and crows, whose populations are still recovering from the impact of persecution and pesticide use. There were no birds of prey in Hudson’s London; even when I started birding 25 years ago, kestrels were about the only species. Since then, peregrines, buzzards and ravens have all returned to the southeast of England, and there are peregrines nesting in the centre of town. The sparrowhawk has replaced the kestrel as London’s commonest bird of prey. And thanks to a reintroduction program in the Chilterns, there is the occasional wandering red kite, raising the possibility that a bird which used to feed on the rubbish heaps of Elizabethan London might return after an absence of 235 years.*

I knew that birds of prey and ravens were recovering from very low numbers; before reading this book I didn’t fully appreciate that the same story was true of the smaller crows. Hudson spends a whole chapter on the now-common carrion crow, ‘the grandest wild bird left to us in the metropolis’, which he thinks is in danger of being lost from London, thanks partially to persecution by park-keepers who want to protect ornamental wildfowl. But even more surprising to me was this passage about magpies, which are now a very common and visible London bird:

The magpie is all but lost; at the present time there are no more than four birds inhabiting inner London, doubtless escaped from captivity, and afraid to leave the parks in which they found refuge—those islands of verdure in the midst of a sea, or desert, of houses. One bird, the survivor of a pair, has his home in St. James’s Park, and is the most interesting figure in that haunt of birds; a spirited creature, a great hater and persecutor of the carrion crows when they come. The other three consort together in Regent’s Park; once or twice they have built a nest, but failed to hatch their eggs. Probably all three are females. When, some time ago, the ‘Son of the Marshes’ wrote that the magpie had been extirpated in his own county of Surrey, and that to see it he should have to visit the London parks, he made too much of these escaped birds, which may be numbered on the fingers of one hand. Yet we know that the pie was formerly—even in this century—quite common in London. Yarrell, in his ‘British Birds,’ relates that he once saw twenty-three together in Kensington Gardens. In these gardens they bred, probably for the last time, in 1856. Nor, so far as I know, do any magpies survive in the woods and thickets on the outskirts of the metropolis, except at two spots in the south-west district.

I did actually know that magpies have spread into London relatively recently, because I have a copy of Atlas of Breeding Birds of the London Area from 1977, and it shows few breeding pairs in inner London. But the fact it had been completely extirpated from Surrey is really startling.

And while on the subject of crows, here’s a nice passage on jackdaws:

I have often thought that it was due to the presence of the daw that I was ever able to get an adequate or satisfactory idea of the beauty and grandeur of some of our finest buildings. Watching the bird in his aërial evolutions, now suspended motionless, or rising and falling, then with half-closed wings precipitating himself downwards, as if demented, through vast distances, only to mount again with an exulting cry, to soar beyond the highest tower or pinnacle, and seem at that vast height no bigger than a swift in size—watching him thus, an image of the structure over and around which he disported himself so gloriously has been formed—its vastness, stability, and perfect proportions—and has remained thereafter a vivid picture in my mind. How much would be lost to the sculptured west front of Wells Cathedral, the soaring spire of Salisbury, the noble roof and towers of York Minster and of Canterbury, if the jackdaws were not there! I know that, compared with the images I retain of many daw-haunted cathedrals and castles in the provinces, those of the cathedrals and other great buildings in London have in my mind a somewhat dim and blurred appearance. It is a pity that, before consenting to rebuild St. Paul’s Cathedral, Sir Christopher Wren did not make the perpetual maintenance of a colony of jackdaws a condition. And if he had bargained with posterity for a pair or two of peregrine falcons and kestrels, his glory at the present time would have been greater.

I couldn’t agree more. Sadly there are still no jackdaws on St Paul’s, but Hudson would be delighted to know that there are peregrines nesting on the Houses of Parliament. Which seems like a suitably upbeat point to end on; I could keep talking about this stuff for ages, but this post is quite long enough already. If you really still want more, you might as well read the book.

* to quote Hudson: “Brave and faithful starlings! we hardly deserve to have you back, since London has not been too kind to her feathered children. Quite lately she has driven out her rooks, who were faithful too; and long ago she got rid of her ravens; and to her soaring kites she meted out still worse treatment, pulling down their last nest in 1777 from the trees in Gray’s Inn Gardens, and cutting open the young birds to find out, in the interests of ornithological science, what they had eaten!”

» The three pictures were all taken by me in London.

Ring-necked parakeet is a species which had been breeding in the London area for decades but the numbers have absolutely exploded in the last ten years. There are various urban legends about them being descended from birds used in the filming of African Queen, or from birds owned by Jimi Hendrix, but really there’s no need for a special explanation for escaped cage birds; feral parakeet populations are also found in Brooklyn, San Francisco, Miami, Madrid, Amsterdam and so on.

Woodpigeon was a newly urban species when Hudson was writing at the end of the C19th and is still common.

Coot was not found in London in 1898 but is now present in very large numbers; every scrap of water seems to have a large untidy coot’s nest on it.

Categories
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.