Archive for the Literature Category

Statistics

Posted in Music, Poetry with tags , , on November 11, 2008 by telescoper

Not many summers ago, in 2004, I spent an enjoyable day walking in the beautiful Peak District of Derbyshire followed by an evening at the opera in the pleasant spa town of Buxton, where there is an annual music festival. The opera I saw was A Turn of the Screw, by Benjamin Britten: a little incongruous for Buxton’s fine little Opera House which is decorated with chintzy Edwardiana and which was probably intended for performances of Gilbert & Sullivan comic operettas rather than stark tales of psychological terror. When Buxton’s theatre was built, in 1903, the town was a fashionable resort at which the well-to-do could take the waters and relax in the comfort of one of the many smart hotels.

Arriving over an hour before the opera started, I took a walk around the place and ended up on a small hill overlooking the town centre where I found the local war memorial. This is typical of the sort of thing one can see in small towns the length and breadth of Britain. It lists the names and dates of those killed during the “Great War” (1914-1918). Actually, it lists the names but mostly there is only one date, 1916.

The 1st Battalion of the Nottingham and Derbyshire Regiment (known as the Sherwood Foresters) took part in the Battle of the Somme that started on 1st July 1916. For many of them it ended that day too. Some of their names are listed on Buxton’s memorial. On the first day of this offensive, the British Army suffered 58,000 casualties as, all along the western front, troops walked slowly and defencelessly into heavy fire from machine guns that were supposed to have been knocked out by an artillery barrage that had been tragically ineffective. Rather than calling off the attack in the face of this slaughter, the powers that be carried on sending troops to their doom for months on end. By the end of the battle in November that year the British losses were a staggering 420,000, while those on the German side were estimated at half a million.

These numbers are beyond comprehension, but their impact on places like Buxton was measurably real. Buxton became a town of widows. The material loss of manpower made it impossible for many businesses to continue after 1918 and a steep economic decline followed. It never fully recovered from the devastation of 1916 and its pre-war posterity never returned.

And the carnage didn’t end on the Somme. As the “Great War” stumbled on, battle after battle degenerated into bloody fiasco. A year later the Third Battle of Ypres saw another 310,000 dead on the British side as another major assault on the German defences faltered in the mud of Passchendaele. By the end of the War on 11th November 1918, losses on both sides were counted in millions.

The First World War ended a long time ago, and there is now only one living survivor of the British trenches, but the tragedy that it was shouldn’t be forgotten and neither should the sacrifices made by those caught up in the slaughter. Every year, we have Remembrance Sunday (which passed yesterday) for which it is traditional to wear a poppy after John McCrae’s poem In Flanders Fields:

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep,
though poppies grow
In Flanders fields.

And tomorrow morning, at the 11th hour of the 11th day of the 11th month – when the guns fell silent 90 years ago – I will stand (as I always do) for the two minutes of silence observed across the country. Some people consider the wearing of a poppy and the observance of the two minutes’ silence to be celebrations of militarism. I don’t. I wear mine with respect for those who have made the ultimate sacrifice (on both sides, including non-combatants, and in all wars not just the “Great” one). As their deaths recede into the past, these rituals are needed to stop us seeing them as mere statistics. Each name on the war memorial at Buxton represents a human life extinguished and is evidence of the capacity for inhumanity which we all possess and from which we must not be allowed to hide.

For me the poppy also symbolises anger for those whose arrogance and mendacity has led us into wars that we should have avoided. I thank my lucky stars that I never had to live through conflict on the scale my grandparents’ generation had to face and curse those who have inflicted that fate on others. I quote another great First World War poet, Siegfried Sassoon (writing here in prose) whose words are as apt today as they were ninety years ago:

I have seen and endured the sufferings of the troops, and I can no longer be a party to prolonging these sufferings for ends which I believe to be evil and unjust. On behalf of all those who are suffering now I make this protest against the deception that is being practised on them; also I believe that I may help to destroy the callous complacency with which the majority of those at home regard the continuance of agonies which they do not share, and which they have not sufficient imagination to realize.

That could just as easily have been written about Iraq (2003) as Flanders (1917).

Benjamin Britten was the reason I went to Buxton that day in 2004 so its only fitting I should mention the moving performance of his War Requiem I listened to yesterday on the radio. This is a powerful work that interleaves the latin mass for the dead with poetry from the greatest of all the war poets, Wilfred Owen. This is his Anthem for Doomed Youth , which is set right at the beginning of the War Requiem, the references in the poem to church services adding tragic irony to his already powerful verse.

What passing-bells for these who die as cattle?
-Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,-
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

Wilfred Owen died in battle in 1918, aged 25, just a week before the armistice was signed. Another statistic.

The October Country

Posted in Finance, Literature with tags , on October 17, 2008 by telescoper

I don’t know why I stopped reading science fiction and fantasy stories. I don’t know exactly when either. Perhaps it was a gradual thing to do with getting older. But when I was a teenager that’s the sort of thing I read all the time. I was a big fan of Michael Moorcock and read book after book of his stories, from the swords and sorcery novellas to the amazing End of Time series, and even the trippy psychedelic 1960s adventures of Jerry Cornelius. I enjoyed Tolkien, Mervyn Peake, Asimov,  Arthur C. Clarke and many others which I usually binge-read by buying everything I could find by a given author and ploughing through them one after the other.

One of the authors I devoured in this way was Ray Bradbury, and his books are among the few that I still like to re-read from time to time. To be honest, I wasn’t all that keen on the pure science fiction books like The Martian Chronicles, but I loved his collections of macabre short stories. Perhaps it’s because I now know how difficult it is to write in that genre that my appreciation of his story-telling skill has if anything grown with time.

I was watching the news last night about the continuing tailspin in the world’s stock markets and it reminded me of one of my favourite collections of Ray Bradbury stories, The October Country. I rummaged around in the stacks of old paperbacks I still haven’t got around to putting on shelves – mainly because I haven’t got around to buying enough shelves – and finally located my copy. It’s a weirdly eclectic mixture of the whimsical and the frightening. The October Country of the title isn’t a specific place. It is many places: “a picturesque Mexican village where death is a tourist attraction; a city beneath the city where drowned lovers are silently reunited; a carnival midway where a tiny man’s most cherished fantasy can be fulfilled night after night. The October Country’s inhabitants live, dream, work, die–and sometimes live again–discovering, often too late, the high price of citizenship. Here a glass jar can hold memories and nightmares; a woman’s newborn child can plot murder; and a man’s skeleton can wage war against him. Here there is no escaping the dark stranger who lives upstairs…or the reaper who wields the world.”

What binds the separate tales together is the way Bradbury conjures up an atmosphere that is both autumnal and alien, both familiar and unnerving, like that of a long-forgotten room where dust gathers on lost artefacts of the past.

But what does this have to do with Stock Markets?

The baffling thing is that the greatest episodes of spine-chilling terror that grip the stock market from time to time also always seem to happen in October. The great Wall Street Crash of 1929 happened in October. More recently, the 1987 crash known Black Monday happened in the same month. Now, in 2008, although the credit crunch has been with us for a significant time, the most dramatic drops in share prices have also been in October.

In order to find the answer to why this is the case I went to Wikianswers and discovered somebody has already posted the question, but so far there have been no answers.

Whatever it is, something about October seems to give investors the jitters.

I blame Ray Bradbury.

Postscript

Posted in Biographical, Literature with tags on September 28, 2008 by telescoper

I’ve only got time for a quick post today. Earlier today, I paid a visit to the Great British Cheese Festival in the grounds of Cardiff Castle. The supply of cheese was impressive enough, but there was also quite a lot of beer and wine available, with the result that the rest of my carefully planned Sunday afternoon soon descended into chaos. When I eventually got home and attempted to get on with some gardening, I managed to cut my finger on my rusty shears and, at roughly the same time, set the neighbour’s small yappy-type dog barking. Experience told me that once it starts this little dog tends to go on for hours. Retreating to my house to lick my wounds, apply elastoplast and insert earplugs I picked up the little book I wrote about yesterday and found the following little poem which I wasn’t really familiar with before, and in which Wordsworth manages to find phrases that explain, perhaps, why such attacks of nostalgia happen. It also conjures a typically (for Wordsworth) romantic view of astronomy, of which I don’t entirely disapprove. Or at least that’s what it seems to do if you’re drunk, full of cheese, have a sore finger and are deafened by a mongrel terrier with no sense of humour.

GLAD sight wherever new with old
Is joined through some dear homeborn tie;
The life of all that we behold
Depends upon that mystery.
Vain is the glory of the sky,
The beauty vain of field and grove,
Unless, while with admiring eye
We gaze, we also learn to love
.

Intimations of Immortality from a Little Red Book

Posted in Poetry with tags , on September 27, 2008 by telescoper

It’s now late september and there’s no sign that the Indian summer we’ve been having is going to fade. Once again, I’m sitting outside in the sunshine while Columbo daydreams. In the newspapers there’s yet more panic about the global financial crisis and the US Government’s attempts to persuade Congress to bail out the profligate bankers. The Republicans don’t want to play along, apparently because they don’t like the idea of government getting involved in the markets. I’m opposed to it for the opposite reason, which is I think those who have caused the problem should be the ones that pay for it. If the UK government decides to bail out any banks, I hope it will be at the price of public representation on their boards or even nationalisation.

Not long ago there was talk about energy companies having a windfall tax levied upon them owing to the sudden leap in their profits arising from high oil and gas prices. This seemed like a good idea to me. A retrospective windfall tax on city bonuses to pay for any packages cobbled together to pay the financial sector’s debts appears at least as justifiable as that proposed for the energy sector.

It’s now about a year since my father died. He hadn’t left a will so I had to travel to Weymouth to tidy up his things and organise a funeral. I hadn’t seen him much in recent years and was never particularly close, since my parents split up when I was about 12 and I went to live with my mother when that happened.

My dad never really came to terms with life after the break up of the family. His business eventually went down the tubes and he left Newcastle to live in Weymouth near his sister, my Auntie Ann, who had lived there for quite a while. He had a history of heart problems so his death wasn’t really a shock, but it did bring feelings of guilt to me, for not having kept in touch very well, as well sudden and unpredictable pangs of nostalgia which I’m still a bit prone to.

Among the memories that popped uncontrollably into my mind last year was a visit we made as a family to the house of my late Auntie Vi, who I don’t think I ever met. I don’t remember when this was but it was just after she died, when I guess I was probably about seven or eight which would make it around 1970 or so. My dad was among those invited to the house to help clear it by taking away anything they wanted.

I don’t remember the house very well except that it was rather dark, decorated with Victorian designs, and cluttered with heavy old-fashioned furniture. I imagined Auntie Vi (or “Violetta”, which was her real name) to be quite scary, perhaps like a governess in some gothic novel. I don’t know much about her except that she wasn’t well liked by the rest of the family. There was talk of some scandal, but I never found out what it was. I was just intrigued how she got the name Violetta. Perhaps her parents liked opera.

The only relic from that visit that I still know about was a little red book that we took home with us. It was a book of Poems by Wordsworth which my mum kept when she split up with my dad and moved out. I asked her about it last year, after my dad’s funeral, and was quite surprised to find she still had it. She gave it to me to keep, and it is on the table beside me now as I write this.

Out of curiosity last year I looked for the date the little book was published, but couldn’t find one anywhere inside. I don’t know why, but the lack of that little bit of information bothered me. I looked on the web to see if there was information about this or similar books was to be found. No luck.

I turned instead to the task of finding out whatever I could about the publisher. The book is in a series called “Canterbury Poets” which was published by the Walter Scott Publishing company (London, New York and Felling). That made be laugh. As if anyone could ever have imagined Felling to be on a par with New York or London!

I had assumed that Sir Walter Scott was the famous novelist of Ivanhoe and the Waverley novels, but digging about a little I found out that it was named for someone else entirely. This particular Sir Walter Scott was born in 1826. He had very little formal education, but became a highly successful businessman. By the 1880s he owned a large network of business interests in the North East, primarily involving engineering and construction companies. In 1882 Scott expanded his empire by buying a publishing company “The Tyne Publishing Company”, which had just gone bust. Scott built a new factory (at Felling) and established a new office in London for his new publishing house, and the Walter Scott Publishing Company was born.

I think Scott must have been a very shrewd entrepreneur because the printing business grew rapidly, primarily through its list of editions of classic works of literature that were out of copyright. The Canterbury Poets series was first published in 1884, which is also the date of their first edition of the Wordsworth. These books were extremely well made, with hard covers, fine quality paper and good stitching . They sold for a shilling, which is an astonishingly low price for books of this quality. I can’t be sure, but have a feeling that a lot of them were given as “rewards” , for good behaviour at sunday schools and the like. That market accounted for a lot of the book trade in those days.Sir Walter Scott died in 1910 and the company ceased trading in 1931. At its peak it did indeed have offices in New York, and also sold large quantities of books in Australia.

I found this all out quite easily, because the Walter Scott Company turned out to be quite famous for the role it played in the story of working class literacy, but it didn’t tell me about the specific edition I had. However, I did discover that a scholarly work had been published in 1997 that contained a complete biliography of all the works it published until the company finally went down the tubes. Quite apart from the connection with my peculiar Aunt, I found the whole story quite fascinating. I sent off for the bibliography, which is basically a kind of catalogue that painstakingly records the size, typeface, cover design, and printers colophons for all known editions. (It’s quite boring to read, as you can imagine). I searched through it to find references to William Wordsworth. Number 99c is the entry for the “Poems” of William Wordsworth.

With a bit of work I established that the specific edition I have was first published in 1892 but reprinted many times after that. Details of the book, however, indicate that my version was actually printed in 1902. Among the clues is the fact that the colophon states “The Walter Scott Publishing Co, Ltd.” and it didn’t become a limited company until 1902. The company also moved its London and New York offices a couple of times which helps pin down the date, as these changes are noted on the imprint.

So there you have it. The little red book was printed in Felling in 1902, which happens to be the same year that my little house in Pontcanna was built, just after the death of Queen Victoria. I don’t know how old Auntie Vi was when she died, but she must have been a young girl when she got it and had obviously kept it all the rest of her life. That fits with the way her name is written in pencil, in what looks like a child’s hand, inside the front cover.

The book isn’t particularly valuable. A lot were printed and it’s not particularly rare. I’m not sure Wordsworth is very collectible nowadays either. I am still amazed, though, how well it had withstood the passage of time. Today’s books are cheaply bound and printed on chatty paper. Most modern paperbacks are in bad condition only a few years after you buy them. They made things to last in those days.

It seems appropriate to end with one of Wordsworth’s poems, of which (I forgot to mention) I’m very fond indeed. I’ve picked the start of the Ode “Intimations of Immortality from Recollections of Early Childhood”, partly because there’s a wonderful setting of this work to music by Gerald Finzi which was performed at this years Proms.

I think it’s apt enough.

There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light
The glory and the freshness of a dream
It is not now as it hath been of yore;-
Turn whereso’er I may,
By night or day
The things which I have seen I now can see no more.

The Rainbow comes and goes.
And lovely is the Rose,
The Moon doth with delight
Look round her when the heavens are bare,
Waters on a starry night
Are beautiful and fair;
The sunshine is a glorious birth;
But yet I know, where’er I go,
That there hath past away a glory from the earth.