Richard Gwyn

Notes from a Catalan village: how to greet a stranger

Bon dia

Yesterday morning, returning from a walk with Bruno in bright spring sunshine, I enter the small car park adjacent to the village cemetery. An old and weathered-looking fellow, somewhat twisted in appearance, is limping towards his car, parked at the entrance. I greet him, unthinkingly, in Spanish, with a cheerful ‘Buenos días’. He surveys me briefly, before responding, in Catalan: ‘Bon dia’, then adding, in Spanish: ‘Es solo un día.’ – ‘It’s only one day’. This takes some unpacking to anyone unfamiliar with (a) Catalan nationalism, and (b) variations in Spanish around the world. But it poses interesting questions, both sociolinguistic and ontological.

The literal meaning of my Spanish greeting is ‘Good days’, plural. It is standard Castilian, and used throughout Spain. My interlocutor chose to correct me either because (a) I addressed him in Spanish, and not Catalan, in an overwhelmingly Catalan (and catalanista, independista etc) rural area, or else (b) he was making an ontological point about the phrase itself, but even so, one with sociolinguistic intimations. This is a point picked up – in a somewhat different context – in Andrés Neuman’s chronicle Cómo viajar sin ver (How to travel without seeing), soon to appear in English translation from Restless Books in the USA), about the difference between the Spanish and Argentine forms of the greeting – in Argentina they also use the singular form: Buen día. Here goes:

‘I land at Ezieiza airport and automatically, like someone switching radio stations, hear myself speaking Porteño. I repossess, as an outsider, my original dialect. I shift from the assertive Spanish “Buenos días” to the sliding Argentinian “Buen dííía”. Why should the day be various in Spain and exclusive in Argentina? A multinational country greets in the plural, and a centralist country greets in the singular?’

But the gentleman in the car park, I would wager, was making a nationalistic assertion also: he was saying, I believe: ‘You’re in Catalunya: we do things our way’. My mistake was in taking him, at a glance, for the type of elderly Catalan who will nearly always greet a foreigner in Spanish rather than Catalan, partly out of courtesy, partly because for much of their lives it was the only official language of the state. But to emphasise the distinction between Catalan and Castilian in this way is to make a political point.

So, our brief interaction was complex, to say the least.  Whereas the comparison Neuman makes is quite generous towards Spain, asserting that its very plurality promotes a broader conceptualisation of greeting, whereas in a centralised state like Argentina, there is only one way to greet and one day in which to make the greeting, my interlocutor makes Spain the invader, its assumed multiplexity a mask for invasion and linguistic colonization. In a small country, whose language was for a long time perceived as a threatened species, the inflexion of a greeting always reveals just a tad more than elsewhere.

Creative Nonfiction

Geoff Dyer

Geoff Dyer, Brixton, London, 1988

 

I find a great Paris Review interview in ‘The Art of Nonfiction’ series from  a couple of years ago with Geoff Dyer, who begins by disagreeing with the parameters of his own interview, interrupting the interviewer as follows:

INTERVIEWER

The first thing I’d like—

DYER

Excuse me for interrupting, but—at the risk of sounding like some war criminal in the Hague who refuses to acknowledge the legitimacy of the court in which he’s being tried—I have to object to the parameters of this interview.

INTERVIEWER

On what grounds?

DYER

It’s titled “The Art of Nonfiction.” Now I could whine, “What about the fiction?” but that would be to accept a distinction that’s not sustainable. Fiction, nonfiction—the two are bleeding into each other all the time.

INTERVIEWER

You don’t distinguish between them at all?

DYER

I don’t think a reasonable assessment of what I’ve been up to in the last however many years is possible if one accepts segregation. That refusal is part of what the books are about. I think of all of them as, um, what’s the word? Ah, yes, books. I haven’t subjected it to scientific analysis, but if you look at the proportion of made-up stuff in the so-called novels versus the proportion of made-up stuff in the others, I would expect they’re pretty much the same.

Later in the interview, Dyer makes mention of David Hare’s remark that the two most depressing words in the English language are ‘literary fiction’, and then goes on to add that ‘creative nonfiction’ might well have taken over as the most odious of collocations. Since I teach a module entitled precisely ‘creative nonfiction’ at the university where I work, I am going to have to think out a pretty clear disclaimer at the start of each semester. Well, the kind of disclaimer I make already, to be fair.

Essentially we are talking about a distinction with which readers of this blog will be familiar, if not, I hope, entirely bored. ‘Creative nonfiction’ is creative by virtue (I guess) of having been written, and ‘nonfiction’, I suppose, by virtue of it not being ’fiction’, or ‘made up’. (I note also that the term itself used to be hyphenated (non-fiction), making it a challenge to, or questioning of, the thing it was not, but now that the hyphen has gone, the beast has been assimilated as a single concept, wearing its non-ness with pride, as it were). So Nonfiction is defined by what it is not. It is not ‘made up stuff’, but stuff that really happened. However, following the criteria established by Borges, and discussed by Blanco here, that ‘everything is fiction’ then how can such a genre as ‘nonfiction’, let alone ‘creative nonfiction’ occur? Why do we need these ridiculous denominations? Why can we not, as Dyer suggests, just have ‘books’?

In his account of acting as W.G. Sebald’s publisher, Christopher MacLehose describes Sebald’s resistance to The Rings of Saturn as being categorised within any literary genre at all: memoir, history, fiction, holocaust studies, travel writing etc: he wanted ‘all of them’, claims MacLehose – and yet, one suspects, at the same time, he wanted none of them. MacLehose says that the craving for categorisation makes booksellers happy, so that they can put the shelving in order, tell staff what to put where: well that seems fair, you have to have some criteria, cookery books for example, gardening etc, but then again . . . are cookery and gardening books not also examples of ‘creative nonfiction’? And what about ‘Poetry’?

To be continued, ad infinitum . . .

Landscape with Beggars

pieter_bruegel_the_elder_-_the_cripples

 

Landscape with Beggars

Juan Manuel Roca

 

The good people wonder

Why a tattered rabble of beggars

Block their prospect of the lilies.

If they don’t receive their ration of manna,

It’s due to their savage custom

Of blighting the landscape and the view.

More ancient than their profession

The beggars emerge from ancient catacombs

Or from remote cathedrals that raise their domes

Between hospices and hospitals.

As they go by they wound and poison the landscape

And the people give way at their passing

As if they were parting a sea

Which they stain with taunts and devastation.

A procession of smells and a procession of dogs

Go past with the wretched hordes. Town mayors

Watch them with watery eyes

While spooning out soup as thick as lava.

The priests seek them out like food

From a kingdom in another world

And describe to them the quarries of hell,

Although they seem to have lived there forever.

They are of another race, another country,

The beggars are dark strangers

Who live on the invisible frontiers of language.

Between them and us a coin makes mock,

A dark commerce in scarcity

Beneath the trinket shop of a relative of God.

On festive days they stare at phantom ships:

They extend their bowls and rough beds to no one

And in the atriums they only pile up scraps of miracles.

There is something of the scarecrow about their trade

Something of falconry about the eyes,

In the way they look at the doves’ bread.

A drunk and downcast man told me at the exit to the bar:

They could send them off to war, to serve as barricades.

The beggars don’t know where to go

When we are ordered to confine the wounded shadows.

The tourist guides, so as not to worry travellers,

Inform them that the beggars are extras

For a film being shot on the streets.

Perhaps they have emerged from a bad dream, from a factory,

From a dockside, from a mine, from a squat.

From the bad dream they bring the surly gaze of those who flee,

From the factory they retain the complexion of a prisoner,

From the docks the vice of loading bales of nothing,

From the mine hard and aggressive eyes,

From the squat an echo carried from the land of Nobody.

Ridicule and Mockery, two faithful dogs, are their companions.

 

This translation by Richard Gwyn first appeared in Cyphers Magazine, Ireland, 2014.

Juan Manuel Roca (b. Medellín, Colombia, 1946) is one of the most widely read and respected figures in contemporary Colombian poetry. A successful journalist and social commentator, he has a long association with the world-famous poetry festival in the city of his birth, set up in defiance of the long years of war and civil strife in his country. He has received numerous awards, including the prestigious Spanish prize, Casa de Ameríca de Poesía Americana 2009, for his collection Biblia de Pobres, from which ‘Paisaje con mendigos’ is taken.

 

 

Paisaje con mendigos

 

Las buenas gentes se preguntan

Por qué los mendigos interponen,

Entre sus ojos y los nardos,

Su amasijo de harapos. Si no reciben

Su cuota de maná es por su feroz costumbre

De llagar el paisaje y la mirada.

Más antiguos que su oficio,

Los mendigos vienen de antiguas catacumbas

O de remotas catedrales que levantan sus cúpulas

Entre hospicios y hospitales.

Al cruzar hieren y enferman el paisaje

Y las gentes se abren a su paso

Como si partieran en dos un mar

Que tiñen de dicterios y quebrantos.

Un séquito de olor y un séquito de perros

Van tras las hordas miserables. Los alcaldes

Los miran con ojos acuosos

Mientras cucharean una sopa densa como lava.

Los sacerdotes los buscan como alimento

De un reino de otro mundo

Y les describen las canteras del infierno,

Aunque parezcan habitarlo desde siempre.

Son de otra raza, de otro país,

Los mendigos son oscuros forasteros

Que viven en las fronteras invisibles del lenguaje.

Entre ellos y nosotros una moneda nos escarnece,

Un oscuro comercio de penurias

Bajo la tienda de abalorios de un pariente de Dios.

Los días festivos escrutan buques fantasmas:

No encuentran a quien extender yacijas o escudillas

Y sólo amontan en los atrios migajas de milagro.

Algo de espantapájaros hay en su oficio,

Algo de cetrería en sus ojos,

En su manera de mirar el pan de las palomas.

Un hombre ebrio y compungido me dijo a la salida del bar:

Podrían mandarlos a la guerra, servir de barricadas.

Los mendigos no saben dónde ir

Cuando ordenan que acuartelemos las sombras malheridas

Los guías de turismo, para no inquietar a los viajeros,

Advierten que son actores de reparto

De una película que ruedan en las calles.

Quizá hayan salido de un mal sueño, de una factoría,

De un muelle, de una mina, de una casa usurpada.

Del mal sueño traen la mirada arisca de quien huye,

De la fábrica conservan un color de presidario,

Del muelle el vicio de cargar fardos de nada,

De la mina unos ojos duros y pugnaces,

De la casa usurpada en eco llegado de tierras de Nadie.

Escarnio y mofa, dos perros fieles, los acompañan.

 

 

 

 

What Gets Lost

Kiefer typewriter

Typewriter, Anselm Kiefer

 

Few more irritating quotations are cited more frequently than Robert Frost’s famous old saw about poetry being ‘what is lost in translation.’ For the unconverted, and in honour of a recent re-reading of Reid’s poem in Edith Grossman’s excellent Why Translation Matters, here is Alastair Reid’s poem on the subject.

Incidentally, as if the ghost of Alastair were intentionally confounding the matter, there are two versions of this poem about the translation process: one can found in Grossman’s book (and which I reproduce below); the other, in the otherwise excellent Inside Out, edited by Douglas Dunn, contains variations in the English and typos in the Spanish. I am therefore going with the other. Both versions, needless to say, can be found online.

 

What Gets Lost

I keep translating traduzco continuamente

entre palabras words que no son las mías

into other words which are mine de palabras a mis palabras.

Y, finalmente, de quién es el texto? Who has written it?

Del escritor o del traductor writer, translator

o de los idiomas or language itself?

Somos fantasmas, nosotros traductores, que viven

entre aquel mundo y el nuestro

between that world and our own.

Pero poco a poco me ocurre

que el problema the problem no es cuestión

de lo que se pierde en traducción

is not a question

of what gets lost in translation

sino but rather lo que se pierde

what gets lost

entre la ocurrencia – sea de amor o de desesperación

between love or desperation –

y el hecho de que llega

a existir en palabras

and its coming into words.

 

Para nosotros todos, amantes, habladores

as lovers or users of words

el problema es éste this is the difficulty.

Lo que se pierde what gets lost

no es lo que se pierde en traducción sino

is not what gets lost in translation, but rather

what gets lost in language itself lo que se pierde

en el hecho, en la lengua,

en la palabra misma.

 

Alastair Reid (1926-2014)

 

 

Anselm Kiefer at the Pompidou

Kiefer Margarethe 2

A couple of weekends ago we had the opportunity to visit the Anselm Kiefer retrospective at the Centre Pompidou in Paris. Quite apart from its power, scope and integrity – and in spite of its overwhelmingly dark subject matter – the exhibition filled me a similarly paradoxical and devastating faith in humanity that can be glimpsed in the work of Kiefer’s compatriot, W.G. Sebald. Kiefer, incidentally, was born one year after Sebald, on 8 March 1945, at the time of the massive allied air raids on his native Germany documented by Sebald in The Rings of Saturn and elsewhere. Much of Kiefer’s work reflects openly on the legacy of Nazism, a tendency that brought him intense criticism from German critics at the start of his career. As he himself has written:

‘After the ‘misfortune’, as we all name it so euphemistically now, people thought that in 1945 we were starting all over again . . . it’s nonsense. The past was put under taboo, and to dig it up again generates resistance and disgust.’

His undaunted gaze on the past of Germany – and Europe at large – struck me as overwhelmingly pertinent now, as Europe faces a humanitarian crisis in the shape of millions of refugees, and the German and European Right flexes in indignation, while in the United States Donald Trump begins to stir up the same kind of populist xenophobia that made the whole experiment of the Third Reich possible. However, Kiefer does considerably more than reflect on historical contingencies, and his oeuvre, massive in range as well as intellectual breadth, explores the idea of a collective mythology – not only the specifically Germanic, Romantic imagination with which much of his work is imbued – but the entire project of the human condition, and of how to live humanely under inhumane conditions, if that is at all possible.

I would need several months to reflect in depth on the emotions generated by this extraordinary exhibition. It is the third time I have visited a major Kiefer show, but the Pompidou have excelled themselves in the attention to detail and the fantastic range of work exhibited. Unfortunately, the exhibition only runs until 16 April, but if you have any chance at all of getting there, it is very much worth it.

I have chosen to consider reproductions from two of the most powerful paintings in the exhibition, titled Margarethe and Sulamith, a thematic that Kiefer has explored exhaustively following Paul Celan’s famous poem ‘Todesfuge’ (Death Fugue), concluding with the famous lines that reflect on the murder by immolation of the Jewish girl Sulamith (Shulamite in The Song of Songs) and contrasted with the golden-haired Aryan Margarethe, whose hair, represented in the painting by straw, according to Sue Hubbard in The Independent ‘symbolises the German love of land, and the nobility of the German soul, allowing Kiefer to play with complex notions of racial purity.’

According to Rebecca Taylor, ‘all of the canonical elements of Kiefer’s work’ are present in the painting Sulamith (or Shulamite): we find ‘a thick impasto resulting from a hardened mixture of oil, acrylic, emulsion, and shellac; a brittle, textured surface infused with commonplace materials (in this case, straw and ash); mythological or biblical references  . . . and a historical subject or location (a Nazi Memorial Hall in Berlin).

Funeral Hall

Wilhelm Kreis, Funeral Hall for the Great German Soldier  (Berlin, 1939)

‘ . . . Kiefer’s hall is not a memorial to great men with patriotic flags waving boldly, but a gateway to damnation, a dark and foreboding road to hell, enclosed by low arches and paved with massive stones —the whole mise-en-scène  . . . suggestive of an oven (immediately bringing to mind the hyperactivity of the crematoria at the Nazi death camps).’

Kiefer Sulemith 2

Kiefer has stated that he would have liked to have been a poet – though it seems strange to me that an artist whose work is so imbued with its own poetry would consider language to be somehow a ‘higher’ attainment than that which he has achieved through his extraordinary visual creations. But it seems only appropriate to close with Christopher Middleton’s marvellous translation of Paul Celan’s poem ‘Todesfuge’, which inspired Kiefer in these paintings.

 

Fugue of Death

Black milk of daybreak we drink it at nightfall

we drink it at noon in the morning we drink it at night

we drink it and drink it

we are digging a grave in the sky it is ample to lie there

A man in the house he plays with the serpents he writes

he writes when the night falls to Germany your golden

hair Margarete

he writes it and walks from the house the stars glitter he

whistles his dogs up

he whistles his Jews out and orders a grave to be dug in

the earth

he commands us strike up for the dance

 

Black milk of daybreak we drink you at night

we drink you in the morning at noon we drink you at nightfall

drink you and drink you

A man in the house he plays with the serpents he writes

he writes when the night falls to Germany your golden

hair Margarete

Your ashen hair Shulamith we are digging a grave in the

sky it is

ample to lie there

 

He shouts stab deeper in earth you there and you others

you sing and you play

he grabs at the iron in his belt and swings it and blue are

his eyes

stab deeper your spades you there and you others play on

for the dancing

 

Black milk of daybreak we drink you at nightfall

we drink you at noon in the mornings we drink you at

nightfall

drink you and drink you

a man in the house your golden hair Margarete

your ashen hair Shulamith he plays with the serpents

 

He shouts play sweeter death’s music death comes as a

master from Germany

he shouts stroke darker the strings and as smoke you

shall climb to the sky

then you’ll have a grave in the clouds it is ample to lie there

 

Black milk of daybreak we drink you at night

we drink you at noon death comes as a master from Germany

we drink you at nightfall and morning we drink you and drink you

a master from Germany death comes with eyes that are blue

with a bullet of lead he will hit in the mark he will hit you

a man in the house your golden hair Margarete

he hunts us down with his dogs in the sky he gives us a grave

he plays with the serpents and dreams death comes as a

master from Germany

 

your golden hair Margarete

your ashen hair Shulamith.

 

Translated by Christopher Middleton

Notes from a Catalan village: Caterpillar processions and the blind men of Bram

A couple of months ago, walking the dog on a hill track beyond the cemetery,  I nearly walked into a quite hideous nest-like construction, hanging from a pine tree at head level, looking like something from a science fiction film, where a very dark secret is about to be unleashed. Or, less dramatically, like dirty white candy floss. I had no idea what it was.

Pine_processionary_moth_

Last week, on exactly the same stretch of path I nearly trod on a procession of caterpillars, which seemed to follow one another along, the head of one – as far as it is able to discriminate with caterpillars – touching the rear of the the other, in a long chain. Since the caterpillar line was directly beneath where the nest had been, I googled ‘caterpillar chain’ and discovered that I had been witness to an appearance by the pine processionary moth, or Thaumetopoea pityocampa.

Pine Caterpillar chain

Apparently the moth lays its eggs in summer, high in a pine tree; the young caterpillars make their nest for the winter – which I witnessed when it had grown to a considerable size in January. As the weather gets warmer they descend to ground level and form processional chains in order to find a place in the soil to pupate.

I looked out for the caterpillars on my way back along the path half an hour later, but they had gone to ground.

Pine chain longer

The image of these creatures following one another, as if being led blindly by a single caterpillar who seemed to know the way put me in mind of the story of the blind men of Bram.

Bram is a small commune in the Rousillon, not far from Carcassonne.  At the time of the Catholic French crusades against the Cathar heretics, Bram was a Cathar stronghold. It fell to the crusade of Simon de Montfort in 1210. The crusaders saved 100 men from the general slaughter, cropped their noses, cut off their lips, and gouged out their eyes. They left one man with one eye intact, to guide the others. The procession of the blind men of Bram roamed the countryside as far as the fortress at Lastours, apparently as a demonstration of the Crusading army’s Christian clemency.

bram_blind

 

 

 

 

Angry in Piraeus

houses sultanahmet

Flicking back through old photographs, I find one taken while returning from an evening out with friends in Istanbul, and passing some wooden-fronted houses in a twisting street, near the shore, that seemed to belong entirely to a world of things forgotten, specifically one of those nostalgic evocations of the old city invoked by Orhan Pamuk in his memoir Istanbul: Memories of City.

It was with real pleasure, then, that I read Maureen Freely’s bewitching essay in the Cahiers series produced by the American University in Paris, called Angry in Piraeus (the title is explained by Freely’s childhood memory of attempting, as a linguistically gifted nine-year-old, to moderate between her father’s splenetic discontent and an implacable Greek taxi driver). She evokes a scenario, familiar to some of us, of being caught between two angry parties and two sets of rules, and having to act as interlocutor between individuals who do not share a common language, and realising, of a sudden, that this is what all human communication is like, but more so. And the antidote? Freely describes what it might be for her:

‘ . . . If asked to describe paradise on earth, I would depict a city I have never seen before, a city I could wander through without anyone quite seeing me. A maze of narrow lanes would send me past gate after locked gate, courtyard after sunlit courtyard. In each there would be another drama, another cast of characters conversing in a language I was hearing for the first time, but that had existed for many millennia, and that I would now attempt to explore, word by word.’

 

 

A murmuration of starlings

Why do starling swarm in the sky? What are they communicating, if anything? Is it play? There doesn’t seem to be a clear response on any website I have searched.

But I have discovered that it is called a ‘murmuration of starlings’, which I like. It evokes the astonishing burr of all those wings in unison, which can be heard whenever you pass close to a group. The RSPB website says:

We think that starlings do it for many reasons. Grouping together offers safety in numbers – predators such as peregrine falcons find it hard to target one bird in the middle of a hypnotising flock of thousands.

They also gather to keep warm at night and to exchange information, such as good feeding areas. 

They gather over their roosting site, and perform their wheeling stunts before they roost for the night. 

The starlings I photographed through my car windscreen (I stopped the car first) were swarming over the flatlands of Ampurdan, near the fresh and saltwater marshes of the Aiguamolls reserve. But I find it hard to be convinced that they gather in this way to keep warm at night (especially as it was mild, and mid-afternoon), and nor am I convinced by the peregrine falcon theory (there are eagles here in the Ampurdan also) and the hypnosis effect on such birds of prey.

An article in The Guardian informs readers that The Society of Biology is calling on the British public to “help them solve the mystery of why murmurations form, how long they last and why they end.”

Starlings 1

 

Starlings 2

Starlings 4

 

 

Olive Oil

The Christmas and New Year break can be draining enough anywhere, but here in Spain the festive drudgery carries on until Epiphany on January 6th, and the celebration of the coming of the kings (Reyes, or Reis in Catalan), the Magi of the Orient who arrive to welcome the baby Jesus in his manger, surrounded by the traditional donkey, cow and a few sheep. This not only means that nothing functions for a full two weeks, but that everyone – especially those with small kids – are in a state of near exhaustion by the time they need to go back to work on 7th January. This puts everyone in a bad mood, even if the weather, and particularly the persistent icy wind, were not enough.

One aspect of the visitation of the kings, in almost every village across Spain, is that the custom of a white person ‘blacking up’ for the role of King Balthasar – supposedly an African king – continues despite mounting criticism of the practice. In fact, Madrid has abolished the custom altogether, choosing to use a ‘real’ black person in the role. Since in Madrid the spectacle is customarily enacted by three of the City Councillors, and  – unsurprisingly – there are no black Councillors to be found, a professional actor was found. As the English language newspaper The Local reported:

The Spanish capital has decided to break with tradition – all in the name of diversity . . . King Balthazar will be played by a black actor from an African association based in Madrid, confirmed the director of Programs and Cultural Activities at Madrid City Hall, Jesús María Carrillo . . . “As well as being more professional it will be more representative: we are not just using any old actor from an audition . . . we want to connect with the cultural diversity of the city while also bringing a sense of professionalism to the parade because it is a huge event, in which it is a huge responsibility to step into the shoes of one of the three kings.”

The actors will be paid around €1,000 for the parade which will take place in central Madrid on the evening of January 5th. Madrid City Hall also confirmed that sweets will be handed out during the parade to children in the crowd but in a “more peaceful way”: during previous years’ parades several members of the crowd had their glasses broken by flying candies. 

BalthasarWell, so much for Madrid. Here in the Catalan hinterland, there were no such pretensions at political correctness, let alone ‘connecting with the cultural diversity’ of the region. Sweets were thrown most peacefully, and nobody’s glasses were broken. In a society where a good percentage of the agricultural workforce is composed of black Africans, it is a mystery why the ludicrous and offensive practice of ‘blacking up’ be allowed to continue, but there we are. No doubt if a thousand Euros were offered for the job, a volunteer would be found quickly enough.

Last weekend was the Festival of the Olive in Espolla, a neighbouring village. Espolla is only a walk away through the vineyards, but always seems to me a much more exalted and organized sort of place than our lowly village: they’ve got a shop that opens all day, a butcher’s, a couple of restaurants. There’s even a bar.

J & J at stall

Our neighbours, Joan and Juliette, ran a stall (pictured above) to sell their excellent wines and honey. As well as locals, the festival is popular with French market stall holders and day trippers (France is only fifteen minutes drive away on the back road). On display, along with the local wines and glorious dark green, fragrant, earthy mineral-rich oils, there were great rounds of cheese, wonderful freshly baked breads, baskets, wooden chests, wood-burning stoves and candy floss. A great outing on a fine day, after nearly an entire gloomy week of the tramuntana mountain wind.

Espolla

The village of Espolla, in the Ampurdan

 

 

 

Canigou

Mount Canigou, from Espolla

 

 

 

 

 

Notes from a Catalan Village: The Mushroom Season

Rovellos

Autumn is the mushroom season, and at weekends, if you take a walk outside the village, you will encounter the mushroom hunter, a basket slung underarm, scanning the ground with an expert eye. King of the mushrooms is the rovelló, (Lactarius deliciosus) – pictured above, large and fleshy funghi that appear around the roots of pines, which grow abundantly along the tracks through the Alberas leading north and into France.

The picture includes one of the largest specimens I have ever encountered (or eaten). I’d recommend them cooked in olive oil or butter with some garlic and parsley, and spread over toast, or with spaghetti or linguine, if you have any.

Another – perhaps the other – defining feature of autumn is the Tramuntana – a wind that heads down off the Pyrenees and sweeps all before it. It makes its way to the coast of Menorca (200 miles due south from here), and who knows how far beyond . . . It is a wind invested with powerful psychological or emotional qualities.

This wind, the mountain wind, infiltrates every corner like a spinning incubus, growing inside each perception, every mundane act, taking them over utterly. Eventually you become aware only of the immediate and hallucinatory impact of whatever stands before you: the silent apparition of the dog waiting expectantly in the doorway; a dead sheep lying beside a roadside elm. The wind sucks out everything from you, leaving you exhausted and chastened. People have been known to commit murder on account of the mountain wind, or else go slowly insane over several seasons. (Colour of a Dog Running Away)

The wind needn’t affect everyone in quite this way; but the dogs, they notice, and flocks of starlings appear as you drive along the road to Garriguella and swerve and dive and bank away in a thick black cloud over the recently ploughed fields.

I have noticed, in myself and others, particularly after a full week of the wind – a tendency towards dreaminess or abstraction, a withdrawal into a state in which the structures of the phenomenal world have a tendency to dissolve. When this happens, conversations about the village take a strange turn, and the person with whom one thinks one has been speaking turns out to have been dead for a hundred years (the teenage girl who disappeared into the mountains with her illegitimate and stillborn child in 1912), and the postman mistakes you for Andreu the beetle-crusher, and the Butane delivery driver’s assistant refuses to let you take in the heavy gas cylinder that you use for cooking and hot water, mistaking you for the old man you must appear to him to be, and tells you to take care now, to wrap up warm, it’s cold.

Rabos January 2012

 

pre sunset

 

sunset

Engrained confusion and Freudian typos

A porpoise with purpose

A porpoise with purpose

Are there words that you always seem to mis-type? I don’t mean mis-spell when writing longhand, but mis-type, when typing in a hurry, when the words are coming out faster than the fingers can organise them into print on the screen, and the mind, as it were, stumbles. Is there any point in analysing these moments?

The question I am getting to, rather clumsily, is whether or not there is an element of the ‘Freudian slip’ involved in the kinds of words that we habitually mis-type when typing faster than we can comfortably manage.

Let me give two examples. One word which I often type incorrectly is ‘purpose’. It occurs to me that this is because I lack purpose, that I have always lacked purpose. I am quite good on intention, and energetic in pursuing obsessive goals, but purpose can floor me. No doubt I spent too much time immersed in the novels of Samuel Beckett as a teenager, but I can hardly blame him. I over-identified with Beckett’s forlornly comic protagonists, mostly because, like my teenage self, they lacked purpose, and this coincided with a time in life when I and those around me were being encouraged to acquire and develop Purpose above all things.

Puprose or porpuse (which of course gets auto-corrected to ‘porpoise’)is how I spell it, and once or twice pusproe. I find it hard to ‘get’ purpose, and have to slow down, pause, and seek out the keys.

The other word I almost invariably type incorrectly is ‘because’ (becuase, beacuse, beacuase etc) – but most commonly beacuse .

My analyst friend, Alphonse, perched on his Freudian stool, says: purpose, sure, Blanco: you lack purpose. Because, surely, because you lack a sense of causality. You refuse to believe that one thing happens as a direct consequence of another thing, and prefer to follow your misguided and mystical faith in Sympathetic Magic.

And there’s the rub. Causality (or actually, I kid you not, cuaslity, which sounds rather like ‘casualty’ is as much of a stumbling block as ‘purpose’ and ‘because’ – the latter as a subordinating conjunction (I hate you because you are a liar) or compound conjunction (the concert was cancelled because of the rain). Either way ‘because’ is a concept whose very existence depends on an acceptance of causality.

But to reinforce this confusion, I have a final repeat slip-up to confess to: when speaking Spanish I consistently confuse the word casualidad (chance, coincidence) with  causalidad (causality)– it is an engrained error, but one which must surely have deep psychological roots, in which I regard all causality as, essentially, a matter of chance or coincidence.

 

 

 

Spelling Anxiety

 

Whatever one’s opinion of the Showtime/Fox TV series Homeland – I personally have been hooked since Season One, but am not an uncritical fan – you have to wonder what went wrong with the spellcheck for episode one of season five, which I watched last night. How, I asked, or rather spluttered, as such things reduce me to a splenetic geeky wreck (I blame my father – whose fetish for ‘correct grammar’ and so forth left an indelible impact – or emotional scar – on all three of his children) can no one have noticed that the title contained a spelling error? SEPERATION ANXIETY is the title of episode one, according to Amazon Prime, and as any fule kno, seperate (for separate) is the second most commonly made spelling mistake on the internet (after ‘loose’ for ‘lose’). In fact my autospell thingy has just corrected my spelling of ‘seperate’ (twice now) as if to prove the point, if it needed proving.

Mrs Blanco is used to these outbursts, and once I’d calmed down we watched the damn thing – although the 50 minute episode took the best part of two and a half hours, over two sessions, as the broadband width is so measly here in the village that watching anything online involves a Zen-like acceptance of things as they are, even if this includes staring at a still of a gurning Claire Danes for ten minutes while the Circle of Death does its turning and the buffering buffers. A charming Peruvian technician has come out from Spanish Movistar (can anyone ‘come out’ from Movistar, I wonder?) on at least three occasions, but he claims, apologetically, that nothing that can be done, that the state of our wi-fi is irremediable, since we are, and I quote,  at ’the end of the line’, i.e. a dead-end, the last village before France. I’m not convinced. Even with my (very) limited knowledge of technology, does broadband width depend of whether you are at the beginning, the middle or the end of the line? Does it just Peter Out, like the failing legs of a long distance runner?

Weirdly, in reviews and online summaries of the episode the spelling has been corrected, but not on the title credits or on amazon video.

 

Homeland