Buckwheat pancakes with maple syrup and bacon (the latter a rare commodity in the Blanco kitchen these days) all washed down with lashings of coffee made with real beans: what a way to start a Sunday. Not only that, but today’s is the ONE HUNDREDTH (100th) POST SINCE BLANCO BEGAN BLOGGING ON SUNDAY 10TH JULY THIS YEAR. HUZZAH!
Last night we went to see the Spielberg/Jackson production of Tintin (The Adventures of). Mrs Blanco and I were agreed that Captain Haddock (played by Andy Serkis with a magnificent quasi-Scots drawl) and Snowy (aka Milou) the dog stole the show. Tintin is always so damned earnest, but more alarmingly for me, bore an uncanny resemblance to a young Welsh novelist of my acquaintance, and he returned in a more complex hybrid form later, to haunt my dreams, a sort of Tintinesque literary prodigy ploughing the astral plains in search of Ultimate Literary Truth. God help us.
The Tintin stories, for all their being imperialist and racist (charges which no one in their right minds would dispute) created in young readers of my generation – long before the advent of gap years hanging loose on Thai beaches or trekking in the Andes – an ambition to see the world, to become an explorer of worlds. And this is what excited me from an early age. A Dutch student of mine once told me that her grandmother said that children who love the Tintin books will become travellers as adults, and those that don’t won’t. I have a suspicion that something of the kind might be true.
In the meantime I must refrain from embarrassing myself and my dear ones by coming out with exclamations like ‘Great Snakes!’ or ‘Blistering Blue Barnacles!’.
On a quite unrelated theme, I see the film of Owen Sheers’ novel Resistance will be out shortly, with an introductory talk by the author/scriptwriter at Chapter Arts Centre in Cardiff on Saturday 26th November, which I will miss as I am off to Mexico that weekend. In fact I was invited to Mexico along with the same Mr Sheers, who is clearly otherwise engaged – but I share with Owen a childhood fantasy – we grew up a few miles (but two decades) away from each other in the Black Mountains – both playing games that involved charging around in the bracken and ferns evading Nazis, something which I discovered quite by accident while chatting to Owen when we were doing a series of readings together in New York (and where Resistance - the novel – was getting its U.S. launch). What a perennial occupation this Nazi obsession must have been for boys growing up in the decades following World War 2: is it still? I have no idea. But how profoundly the mythology of Nazism has infiltrated our psychological as well as our historical agenda.
And this leads me to the third topic of the day, or the fourth if we include breakfast: the front cover of the Vintage paperback edition of The Kindly Ones by Jonathan Littell.
The picture shows a solitary German soldier walking down a country road in what I imagine is some part of the Soviet Union. If, as the acknowledgement claims, the photo was taken in 1943, the soldier is probably in retreat. In the background and to his side, across a field, are other soldiers, themselves walking alone. There is snow on the ground, and it is either still snowing or else there is a mist. The soldier is walking purposefully, and carrying a rifle over his soldier, so is not in a state of combat. I am fascinated by the photograph, and am trying to work out why. Is it to do with the solitary status of the soldier, knowing as we do the vast numbers of troops involved in the invasion of Russia and in its defence, the huge tallies of the dead that Littell’s protagonist Dr Max Aue recites ad absurdum in the introduction to his story? From what source does the poignancy of this image derive, and why does it affect me so?
I think the focus on the individual soldier is meant to reinforce Max Aue’s refrain that yes, he is responsible, he did the things which he recites, but that he was an individual in a chain of command, an infinitesimal cog in a massive destructive machine, and his question is, simply, what would you have done?
Or, more succinctly, in Aue’s words, it is “a fact established by modern history that everyone, or nearly everyone, in a given set of circumstances, does what he is told to do; and pardon me, but there’s not much chance that you’re the exception, any more than I was. If you were born in a country or at a time not only when nobody comes to kill your wife and your children, but also nobody comes to ask you to kill the wives and children of others, then render thanks to God and go in peace. But always keep this thought in mind: you might be luckier than I, but you’re not a better person. Because if you have the arrogance to think you are, that’s just where the danger begins.”
The Kindly Ones, fastidiously researched (Littell spent many years on the project and read over two hundred books on the German occupation of the USSR alone) is without doubt one of the most extraordinary novels of recent times: I would place it, together with Roberto Bolaño’s 2666 as one of the two most significant pieces of literary fiction in the 21st century, at least that I’m aware of. 2666 was written in Spanish, obviously, but Jonathan Littell’s book was first published in French as Les Bienveillantes in 2006 and won the Prix Goncourt. It is marvellously translated by Charlotte Mandell, and maybe I will write about it when I have finished (I am not quite half way through its 960 pages, but will stand by my current appraisal nonetheless), but in the meantime I am fascinated by the cover picture, poorly reproduced here, because I could not find a copy of the original, despite searching online through the Keystone/Getty archive, who apparently hold the original. If any readers know anything at all about this photograph, please let me know.