Sleepwalking near the Río Orlina

29 Aug

small cliff on path near Dia's pool

So I am looking at this rock, on my way back from walking the dog to a favourite pool in the river for his evening swim, looking at this rock without any particular intent, and I realise that I am drawn to it, drawn to this small cliff or outcrop, framed by dusty green vegetation, and my reaction to it is a strange one: why am I attracted by this, why does it move me? It feels almost as though it were inhabited. It might be the colours of evening that my phone camera signally fails to capture, the richness of texture and shade; the browns and greens and the hint of blue. It might be that peculiarly faculty that certain peoples – notably indigenous Australians – attribute to specific places because they are haunted by or have become the presiding force of some human or animal spirit. In fact Proust mentions it near the beginning of À la recherché du temps perdu:

‘Je trouve très raisonnable la croyance celtique que les âmes de ceux que nous avons perdus sont captives dans quelque être inférieur, dans une bête, un végétal, une chose inanimée, perdu en effet pour nous jusqu’au jour, qui pour beaucoup ne vient jamais, où nous nous trouvons passer près de l’arbre, entrer en possession de l’objet qui est leur prison.’

I find the Celtic belief very reasonable, that the souls of those we have lost are held captive in some inferior creature, in an animal, in a plant, in some inanimate thing, effectively lost to us until the day, which for many never comes, when we happen to pass close to the tree, some into possession of the object that is their prison.

And then I remember that only yesterday morning I was thinking of rock, or rather was struck by the image of blue rock, or slate-blue rock, that seemed to be drawing me in, it was in a kind of waking dream, and then – as if to corroborate the thought – later in the morning I read, in an article by Michael Wood, this quotation from Claude Lévi-Strauss’ Tristes Tropiques:

‘Every landscape offers, at first glance, an immense disorder which may be sorted out howsoever we please. We may sketch out the history of its cultivation, plot the accidents of geography which have befallen it, and ponder the ups and downs of history and prehistory: but the most august of investigations is surely that which reveals what came before, dictated, and in large measure explains all the others.’

In other words, as should be clear: geology is the base model of all things. The most ‘august of investigations’ are therefore those made by the geologist. And for Lévi-Strauss, this becomes a pervasive metaphor, or a mode of representing ‘structures’ as though they were essential, fundamental to the whole of his theory.

In my confused and semi-conscious, sleepwalker’s way, maybe I was doing something similar: bumping into physical aspects of the universe that seemed somehow to correspond with images originating in the inner world of the mind. Though I take no credit for it, and it proves absolutely nothing; does not even tell a story. So I add to the stone outcrop or small cliff with two pictures that help narrativise my walk back to the village: the winding path connecting with the St Quirze road – and the almost full moon. The way home.

long and winding road rabos

moon rabos 28 August 2015

Catalan castles

24 Aug

I have always been deeply and unaccountably moved while watching the Catalan castell being performed. My family and I witnessed a castell event last Sunday in the town of Roses, and I filmed two of them. The one I show here is a group from the town of  Castelló.

To summarise: the castell (castle) is a traditional Catalan festival performance. Many towns and villages have their own club de castellers, which meet and rehearse around the year. The groundwork is done by a large group of castellers, mostly men, who will from the base, the pinya, upon which the whole structure is erected. The pinya needs to be solid and dependable if construction is to continue. Sometimes the second layer of castellers take a while finding their feet on the shoulders of the base component. Once they are ready, a signal is given, and the band begins to pay the toc de castell music, brassy and rousing. The upper layers need to rise as quickly as possible so as not to put excessive strain on the lower members, who bear most of the weight of the construction. Once the smallest casteller – usually a child of around six years of age – has reached the top, he or she raises four fingers towards the sky (symbolising the stripes of blood in the Catalan flag) and descends the other side of the castle, followed by her companions. The dismantling of the castle must also take place rapidly, and it is at this point that an accident is most likely to happen, as a casteller loses his or her footing, causing a colleague to lose balance. If there is a fall, there is the safety net of the pinya to prevent injury: the community protects its own. Very occasionally these accidents can be serious. In 2006 a young casteller fell to his death in a castell in Mataró. Prior to that there had been no fatalities for 23 years. However Health and Safety now requires the children on the upper layers to wear helmets.

The whole performance is an exercise in trust, in balance, and in togetherness. It also requires courage, especially from the children who form the uppermost layers of the castell. It moves me, I suppose, because it reflects the ability of small communities to depend on one another in a symbolic way, and to act out this solidarity as a piece of living theatre. This seems to be something so-called ‘minority cultures’ do well, but these cultural artefacts are dying out, and will one day disappear, or else will become objectified or Disneyfied, and become yet another quaint cultural product to be marketed and profited from. For the moment though, the castell holds a special place as an emblem of resistance, of identity, and of community.

Neruda’s Timekeeper Revisited

4 May

Valparaiso 2

To Don Asterio Alarcón, timekeeper of Valparaíso

by Pablo Neruda

 

Valparaíso has the smell

of a crazy port,

the smell of a shadow, of a star,

of moon-scale

and fish-tail.

The heart shudders

on the harrowing stairways

of the bristling hills:

grave poverty and black eyes

dance there in the fog

and the flags of the kingdom

hang from windows:

patched sheets,

old shirts,

long undershorts

and the sea sun salutes the banners

while the white clothes wave

the sailors a poor farewell.

Sea streets, windy streets

of the hard day wrapped in air and waves,

alleys that sing upward

in a spiral like snails:

the commercial afternoon is transparent,

the sun visits the merchandise

in order to sell the warehouse smiles,

showing windows and sets of teeth,

shoes and thermometers, bottles

that hold a green night,

unreachable suits, golden clothes,

awful socks, mild cheeses,

and so I come to the point

of this ode.

There is a shop window

with its glass

and inside,

between timepieces,

the clockmaker don Asterio Alarcón.

The street boils and turns

burns and batters,

but behind the glass

the clockmaker,

the old curator of timepieces

stands immobile,

with a protruding eye,

an extravagant eye

which guesses the enigma,

the cardiac arrest of the clocks

and scrutinizes with one eye

until the obscure butterfly

of timekeeping

alights on his brow

and the hands of the clock move.

Don Asterio Alarcón is the ancient

hero of minutes

and the boat sails on the wave

measured by his hands

that add

responsibility to the minute hand,

neatness to the beat:

Don Asterio in his aquarium

watched over the sea clocks,

oiled with patience

the blue heart of the seascape.

For fifty years,

or eighteen thousand days,

the river of children and men and women

flowed by

up the shabby hills or down to the sea,

while the clockmaker,

amidst clocks,

stopped in time,

softened like a pure vessel

against the eternity of the current,

his timbers appeased,

and little by little the wise man

emerged from the artisan

working

with magnifying glass and oil

cleansed of envy, fear discarded,

fulfilled his job and destiny,

until time itself

in its fearsome passage

made a pact with him, with don Asterio,

and he awaits his hour.

So when I pass by

the frantic street,

the black river of Valparaíso,

I only hear one sound

among the sounds,

among so many clocks one only:

the exhausted, gentle, murmuring

and ancient movement

of a great pure heart:

the distinguished and humble

tick-tock of Don Asterio.

 

 

Translation by Richard Gwyn

 

 Val BBC

 

 

A Don Asterio Alarcón, cronometrista de Valparaíso

Olor a puerto loco

tiene Valparaíso,

olor a sombra, a estrella,

a escama de la luna

y a cola de pescado.

El corazón recibe escalofríos

en las desgarradoras escaleras

de los hirsutos cerros:

allí grave miseria y negros ojos

bailan en la neblina

y cuelgan las banderas

del reino en las ventanas:

las sábanas zurcidas,

las viejas camisetas,

los largos calzoncillos,

y el sol del mar saluda los emblemas

mientras la ropa blanca balancea

un pobre adiós a la marinería.

Calles del mar, del viento,

del día duro envuelto en aire y ola,

callejones que cantan hacia arriba

en espiral como las caracolas:

la tarde comercial es transparente,

el sol visita las mercaderías,

para vender sonríe el almacén

abriendo escaparate y dentadura,

zapatos y termómetros, botellas

que encierran noche verde,

trajes inalcanzables, ropa de oro,

funestos calcetines, suaves quesos,

y entonces llego al tema

de esta oda.

Hay un escaparate

con su vidrio

y adentro,

entre cronómetros,

don Asterio Alarcón, cronometrista.

La calle hierve y sigue,

arde y golpea,

pero detrás del vidrio

el relojero,

el viejo ordenador de los relojes,

está inmovilizado

con un ojo hacia afuera,

un ojo extravagante

que adivina el enigma,

el cardíaco fin de los relojes,

y escruta con un ojo

hasta que la impalpable mariposa

de la cronometría

se detiene en su frente

y se mueven las alas del reloj.

Don Asterio Alarcón es el antiguo

héroe de los minutos

y el barco va en la ola

medido por sus manos

que agregaron

responsabilidad al minutero,

pulcritud al latido:

Don Asterio en su acuario

vigiló los cronómetros del mar,

aceitó con paciencia

el corazón azul de la marina.

Durante cincuenta años,

o dieciocho mil días,

allí pasaba el río

de niños y varones y mujeres

hacia harapientos cerros o hacia el mar,

mientras el relojero,

entre relojes,

detenido en el tiempo,

se suavizó como la nave pura

contra la eternidad de la corriente,

serenó su madera,

y poco a poco el sabio

salió del artesano,

trabajando

con lupa y con aceite

limpió la envidia, descartó el temor,

cumplió su ocupación y su destino,

hasta que ahora el tiempo,

el transcurrir temible,

hizo pacto con él, con don Asterio,

y él espera su hora de reloj.

Por eso cuando paso

la trepidante calle,

el río negro de Valparaíso,

sólo escucho un sonido entre sonidos,

entre tantos relojes uno solo:

el fatigado, suave, susurrante

y antiguo movimiento

de un gran corazón puro:

el insigne y humilde

tic tac de don Asterio.

From Plenos Poderes, first published by Losada, Buenos Aires.

Fiction Fiesta 2015

15 Apr
Preview | Fiction Fiesta 2015

PREVIEW | FICTION FIESTA 2015

Fiction Fiesta started out three years ago as a conversation in a pub between myself and Nick Davidson, landlord of the now defunct Promised Land in Windsor Place, Cardiff. I was expecting a visit from two Argentinian writers, Andrés Neuman and Jorge Fondebrider, and Nick and I decided to hold a small celebration to welcome them to Wales. However, we got a little excited and ended up inviting all kinds of people, including the publishers Christopher MacLehose and Charles Boyle, and the literary editor of The Independent, Boyd Tonkin, and then a load of people from closer to home got involved. Nick got some money from the San Miguel brewery and I managed to secure some from Cardiff University and the thing was on. We followed up in 2013, with an Arts Council of Wales small festivals grant, inviting Eduardo Halfon from Guatemala and Inés Garland from Argentina to join several writers from Wales and elsewhere, and The Independent again covered the event, which attracted some attention.
My idea for Fiction Fiesta was simple: to team up writers in both the languages of Wales with writers from Latin America, and initiate a discourse between us and them, with the aim – among other things – of dismantling such notions as ‘us’ and ‘them’. The way we set out to approach this was to pay particular attention to literature in translation, and explore the whole idea of translation as a concept that to some degree governs our lives. After all, we are translating from the moment we are born: early childhood is the acute phase of translation, and of being translated. Those moments in which every gaze, every enraged instinct on the part of the infant meets with either incomprehension or else with a tentative, and then a more assured translation. As parents we are constantly engaged in acts of translation, as are friends and lovers and enemies and strangers of all variety. In literature, even without being translated into other languages, we are translating emotions and thoughts into words. ‘Reading poetry is itself a kind of translation,’ commented Andrés Neuman during a discussion at Fiction Fiesta in 2013. We are all translators, just as we are all, to some degree, writers. ff-e-flyer 2015
The novelist and essayist Ali Smith, in her preface to English PEN’s report on literary translation, Taking Flight, wrote:  ‘If we value literature at all, we know the worth of literary translation. If we want language to be as subtle and supple and layered and resonant as language can be, we know the worth and the work and the subtlety of literary translation. If we care at all about looking beyond our back yard and our own dominant narratives, we know the worth, the work, the open border, open mind, open eyes and ears of literary translation. If we belong to a culture which rates the word literary, we know the value, the scope, the touchstone, the creativity, the generosity that exist in this fusion of literary and translation.’
Engaging with the literature of another country, another culture, enables us to understand not only the world as it is now, but also the shared history that brought us here, which will be our legacy.
As Edith Grossman, the modern translator of Cervantes’ Don Quixote puts it: ‘[Translation] permits us to savor the transformation of the foreign into the familiar and for a brief time to live outside our own skins, our own preconceptions and misconceptions. It expands and deepens our world, our consciousness, in countless, indescribable ways.’
It was never our intention to put on a big festival. We always wanted Fiction Fiesta to retain a sense of intimacy that came from holding the first edition of the fiesta in the upstairs room of a local pub. And we wanted to keep a sense of celebration, of literature as something to be savoured and enjoyed, like food and drink, which the large-scale corporate festivals cannot provide. Above all, we wanted Fiction Fiesta to help develop contacts and friendships between Welsh writers and writers from Latin America, which is where a lot of my own literary interests happen to have sprung from.
I was fortunate enough to spend some time in Mexico last year on an Arts Council of Wales project, and part of my task was to familiarise myself with the wide expanse of literary culture there as well as trying – within a month – to gauge as much as I could of the wider cultural climate within that country. I came away with my head filled to bursting, but enthusiastic about the task of developing closer relationships with individual Mexican writers, of translating the poems of some, and of reading the work of many others.
This year Mexico and the UK are teaming up for two big events: the London Book Fair, running this week from Tuesday to Thursday, where Mexico is the guest nation, and at the Guadalajara Book Fair, in November, where the UK is the invited country. We thought that Cardiff should see a slice of the action, so together with the newly formed Wales PEN Cymru, and with the support of the British Council, we decided to hold a small event here with two of the Mexican writers whose work I discovered last year, and who are visiting for the Book Fair. As is the usual pattern with FF, we teamed them up with local writers – or in this instance a Welsh writer and a Scottish Poet – to see what happens.
file-page1
The event takes place on a Friday night, at the Wales Millennium Centre. In the first session, which begins at 5 pm, Owen Sheers will be in conversation with Juan Villoro, a contemporary and friend of Roberto Bolaño, and an extraordinary writer of short stories in the broad lineage of Borges, alongside Francesca Rhydderch, who achieved widespread recognition last November with her shortlisting for the BBC Short Story Award. In the second half, following a wine reception, I will be talking with Pedro Serrano along with the Scottish poet WN Herbert, and they will be reading from their work. The event takes place in the Preseli Room at WMC and entry is free of charge, with donations to Wales PEN Cymru welcome.
This year Fiction Fiesta is supported by the British Council and Cardiff University School of English, Communication and Philosophy.

This post also appears on the website of WALES ARTS REVIEW today. The new re-vamped Wales Arts Review serves as a media platform where a new generation of critics and arts lovers can meet to engage in a robust and inclusive discussion about books, theatre, film, music, the visual arts, politics, and the media.

To Reiterate

25 Jan

Lydia Davis, in inimitable style, consolidates the elements of reading, writing and travel in a short piece from her 1997 collection, Almost no Memory:

Michel Butor says that to travel is to write, because to travel is to read. This can be developed further: To write is to travel, to write is to read, to read is to write, and to read is to travel. But George Steiner says that to translate is also to read, and to translate is to write, as to write is to translate and to read is to translate. So that we may say: To translate is to travel and to travel is to translate. To translate a travel writing, for example, is to read a travel writing, to write a travel writing, to read a writing, to write a writing, and to travel. But if because you are translating you read, and because writing translate, because traveling write, because traveling read, and because translating travel; that is, if to read is to translate, and to translate is to write, to write to travel, to read to travel, to write to read, to read to write, and to travel to translate; then to write is also to write, and to read is also to read, and even more, because when you read you read, but also travel, and because traveling read, therefore read and read; and when reading also write, therefore read; and reading also translate, therefore read; therefore read, read, read and read. The same argument may be made for translating, traveling and writing.

 

 

More notes on being a foreigner (III)

20 Jan
Valparaíso skyline

Valparaíso skyline

More translation – literary and the other, everyday kind – and more thoughts on being a foreigner: “Foreigners are, if you like, curable romantics” writes Alastair Reid. “The illusion they retain, perhaps left over from their mysterious childhood epiphanies, is that there might be a place – and a self – instantly recognisable, into which they will be able to sink with a single, timeless, contented sigh. In the curious region between that illusion and the faint terror of being utterly nowhere and anonymous, foreigners live. From there, if they are lucky, they smuggle back occasional undaunted notes, like messages in a bottle, or glimmers from the other side of the mirror.”

He wonders whether Valaparaíso might be that place into which he could “sink with a single, timeless, contented sigh”. He suspects it might be. And yet.

The foreigner walks for an hour in the vicinity of the bus station looking for a comfortable place to sit and scribble: something like a café, or a clean well-lighted place that might offer up a drink and a sandwich, one of those sandwiches that contain a variety of colourful food: a completo or an italiano.

He does not much care for his current state of mind. He has returned to Valparaíso, after a brief visit to the capital. In Santiago the temperature was 35 degrees centigrade; here it has dropped to around 19, and is overcast. He came dressed for the sun, and looks ridiculous. To make matters worse, he has a suitcase, albeit a small one, which he does not wish to lug around. He wonders if he should check into a hotel, but it is a weekend in high summer, and the two he has called are full (and expensive). He has killed the first hour in pointless perambulation, so leaves his case at the left luggage office of the bus station and tries again to orient himself, calmly. He sets off towards a covered market, often useful places for one in search of food, but the stalls are shutting up and the little shacks selling food also, and the place has the forlorn aspect of closing time, and the street outside smells of fish, urine and rotting fruit.

He continues further out of his way before finding a more promising street and following it. Something about the open-fronted shops selling herbs and fruit and meat reminds him of Greece, specifically the smell of Chania market. He tries to identify precisely what the smell is, and fails to name it, the ingredient tantalisingly out of memory’s reach. It is a smell that combines thyme, coffee and something else, something that will not be recalled. He begins to feel nostalgia for people and places he will never recover, but that too fades. Eventually he spots a likely café and crosses the road. He takes a table half way down the room. When he orders, the waitress turns her head to one side, as some people do when confronted by a foreigner, as though the presumption of their foreignness will necessarily involve not understanding them. When she realises that there are no imminent communication issues, she smiles. Despite his command of the language, he is still a foreigner, and perhaps she feels a degree of pity, or something approximating it to it. He has seen the other waitress carrying a plate with the kind of sandwich he requires: meat, tomato, avocado, mayonnaise. He requests the same. It doesn’t take long to clock the fact that not only is he the only non-Chilean in the place; he seems also to be the only person not personally known to the staff. The sandwich arrives. It is pretty much what it sets out to be, and settles threateningly in his stomach.

The following night, by which time he has shed the tourist garb of shorts and brightly coloured shirt and put on a disguise of tracksuit trousers, black tee shirt and cardigan, he goes downtown with his friend, Enrique, who remarks afterwards that to any onlooker they might just have appeared to be father and son, taking a turn out to the bar together. His foreigner identity has briefly been supplanted – to the outside world, at least – by another. He wonders how much longer it would take for his identity to be usurped forever. He thinks, probably, never. But he suspects there is always another, his other, or his other’s other, in waiting, biding its time.

But that thing about the place into which he could sink with a single, timeless, contented sigh? That has receded again; that, he fears, will always be an illusion.

day4 view from terrace

Cerro Alegre, with sea

The writer Enrique Winter

Chilean writer Enrique Winter

Exhibit B in Santiago de Chile

17 Jan
A Place in the Sun, from Brett Bailey’s “Exhibit B”. This installation was based on an account of a French colonial officer who kept black women chained to his bed, exchanging food for sexual services.

From Brett Bailey’s “Exhibit B”. This installation was based on an account of a French colonial officer who kept black women chained to his bed, exchanging food for sexual services.

 

Continuing my readings of Alastair Reid, while travelling in Chile, I find the following: “The fictions we make are ways of ordering and dominating the disorders of reality, even though they in no way change it. The ‘truth’ of a fiction is less important than its effectiveness; and since reality is shifting and changing, our fictions must constantly be revised.”

‘Fictions’ here has the broadest meaning possible, and should not be confined to those things that are written down and sold in the Fiction Section. Fictions, following Borges, are anything – a story, an explanation, a plan, a theory, a dogma – that gives a certain shape to reality. A piece of theatre, for example.

Arriving in Santiago from the south of Chile yesterday evening, I was invited by friends to attend a performance of Exhibit B, showing as part of the Santiago a Mil theatre festival. Exhibit B is a theatre installation that replicates the grotesque phenomenon of the human zoo during the 19th Century, in which Africans were put on display like circus freaks “for the titillation of European and American audiences under the guise of ‘ethnological enlightenment.’” The show created something of an outrage when performed at the Edinburgh Festival last year. There were complaints that the actors were being to subjected to a similar form of exploitation as the people whose lives they were reproducing, and its run at the Barbican in London was cancelled, on the grounds – according to the sociologist and activist Kehinde Andrews, writing in The Guardian “that it reinforces, rather than challenges the racism it stands as a commentary on.”

Holding the performance in the baroque and excessive setting of the nineteenth century Cousiño Palace in central Santiago was a stroke of genius. The Cousiño Goyenechea family owned coal and silver mines, as well as the Cousiño-Macul Vineyards. The nouveau riche glitz of the palace set off by classical music, provided a sinister but peculiarly fitting locale.

The experience of Exhibit B was painful, as I expected it to be, and my emotions as I walked slowly round the exhibits were complex, and included a degree of shame in experiencing discomfort of any kind, given the extremes of discomfort, abuse and torture suffered by the subjects whose pained existences were being recreated by the actors. I was confused, as I was doubtless meant to be: should I make eye contact with the exhibits, for instance? Would I not be replicating the white man’s gaze that the performance so vehemently questions? The actors weren’t avoiding my gaze, that was for sure, and even on occasion followed my passage across the space in front of them, especially the replica of the man adopted by some Austrian prince in the 18th century who, when he died, had been skinned and stuffed (and blanched) and put out on display for visitors to admire.

My confusion – and the residual sense of shame which I had no power to resist – was exacerbated by a string of questions to which I had no answers. I think the most powerful message to come from this important work is that the objectification and exploitation of society’s others – and our continuing projection of otherness onto immigrants and asylum seekers – continues and will continue. We cannot change the past, but we can at least help shape the future. That is why I cannot support the position taken by the protesters who forced the closure of the Barbican show. A discussion between one of the black performers, Stella Odunlami, and Kehane Andrews (who was active in getting the show shut down, despite never having seen it) provides valuable arguments on both sides. Essentially though, I feel that censorship cannot be justified simply because a work of art chooses a difficult subject and questions reality in a way that some might find offensive.

By the criteria presented at the start of this post, that the fictions we make are ways of ordering and dominating the disorders of reality, even though they in no way change it, and that the ‘truth’ of a fiction is less important than its effectiveness, I can only say that in the case of Exhibit B, its effectiveness was not in doubt. It was both effective and a deeply moving testament to human cruelty and human suffering. As the performer Stella Odunlami writes in response to Kehane Andrews : “my fellow performers and I chose to be part of a production that exposed racism then and now. We have had to defend our decision to exercise our freedom of creativity to those who call us puppets. It is not your job to decide what is or isn’t good for me; I am capable of doing so for myself.” Brett Bailey’s own defence of the work can be found here.

At the very end, when we were standing around in the courtyard about to leave, I caught sight of the actors smoking and chatting by the side entrance of the palace. I was relieved that the company included the taxidermically conserved dead man whose gaze I had failed to meet. It was as if, with the actors out of role, no longer being the people they represented in fiction, their humanity had been restored to them, and with theirs, my own.

 

 

 

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