Archive for category Literature
Inexplicably, the quality press has not yet invited me to name my top reads over the last twelve months, but no matter, I’ll do it anyway.
There is no attempt to rank or compare, or to identify one top title – just to share some of this year’s reading pleasure.
First, Taiye Selasi’s gorgeous Ghana Must Go. Drawn to it at first just for the title, I was blown away by the opening chapter, and as the narrative pulled back from that minute detail, that moment by moment evocation of a man looking out at his garden, realising that he is about to die, the breadth of the locations and the expanding cast in no way diluted the power of the writing. I did not realise at first that I was reading it aloud in my head, the way I read a novel in French, rather than hoovering up a page in one go as I normally do. In this case it wasn’t in order to understand it, but in order to feel the rhythm of the text. This is a poem as much as it is a novel.
John Williams’ Stoner had massive word of mouth before I got round to reading it. I was not disappointed – of course the academic milieu that it describes is very familiar to me and that helped to draw me in. But the emotional punch it pulled was unexpected and I rather regretted reading it in public.
I’ve written elsewhere about the final Resnick novel, Darkness, Darkness, from John Harvey. I read a lot of detective novels – it was a year of long train journeys – and discovered new writers, notably Ann Cleeves, Laura Lippman, Louise Doughty, Belinda Bauer and Anne Holt, as well as enjoying new stuff from existing favourite Cath Staincliffe. Her Letters to my Daughter’s Killer is powerful stuff.
Tiffany Murray’s Diamond Star Halo rocked my world, and Sugar Hall chilled my spine. I read the whole Game of Thrones series, and am eager for more. Other favourites from writers new to me were John Lanchester’s Capital, Patrick McGuiness’s The Last Hundred Days, and Sue Eckstein’s Interpreters. I will seek out more by all of them, though very sadly, Sue Eckstein’s early death means that there is only one more from her to look forward to.
Danny Rhodes’ Fan inspired me to reminisce and ruminate about my relationship with the game of football, and with Nottingham Forest in particular, and Caitlin Moran’s How to Build a Girl both made me laugh uproariously, and moved me to tears. It prompted a blog too.
As well as discovering new writers, I had the delight of reading more by some great favourites. Lesley Glaister’s Little Egypt, Stevie Davies’ Into Suez, Liz Jensen’s The Ninth Life of Louis Drax, all very different, and all on top form.
Lynn Shepherd’s latest literary mystery, The Pierced Heart, played beautifully with the Dracula myth, and the set up – a young man travels into the heart of Europe, an older, darker Europe, is welcomed by a mysterious Baron in a castle full of alchemical texts and other, more troubling collections – not only echoes Bram Stoker but reminded me of Michel Butor’s Portrait of the Artist as a Young Ape, about which I hope to write something in due course. And oddly there were echoes of other aspects of The Pierced Heart in Stephen King’s excellent Revival, despite the very different setting. My most recent Doctor Who blog touched on these themes.
I didn’t expect Kenan Malik’s The Quest for a Moral Compass to be such a page-turner. I expected it to be enlightening and stimulating, sure, but it’s a huge achievement that it was genuinely difficult to put the book down. I wanted to find out ‘what happened next’, how through the centuries and the continents the human race grappled with the big questions of what it is to be good.
Other non-fiction that had an impact on me included Solomon Northup’s Twelve Years a Slave, which I read before I saw Steve McQueen’s harrowing and viscerally powerful film, and Dan Jacobson’s Heshel’s Kingdom, to which I was led by W G Sebald (in the final pages of Austerlitz). There was also Philippa Comber’s fascinating memoir of her friendship with Sebald, Ariadne’s Thread, another future blog, I hope.
Belinda Bauer – Blacklands, Darkside, Finders Keepers
Ann Cleeves – Dead Water, Red Bones, Silent Voices, Burial of Ghosts
Philippa Comber – Ariadne’s Thread
Stevie Davies – Into Suez
Louise Doughty – Apple Tree Yard
Sue Eckstein – Interpreters
Lesley Glaister – Little Egypt
John Harvey – Darkness, Darkness
Anne Holt – Blessed are Those who Thirst
Dan Jacobson – Heshel’s Kingdom
Liz Jensen – The Ninth Life of Louis Drax
Stephen King – Revival
John Lanchester – Capital
Laura Lippmann – The Innocents, Life Sentences, Don’t Look Back
Patrick McGuinness – The Last Hundred Days
Kenan Malik – The Quest for a Moral Compass
Caitlin Moran – How to Build a Girl
Tiffany Murray – Diamond Star Halo; Sugar Hall
Solomon Northrop – Twelve Years a Slave
Danny Rhodes – Fan
Lynn Shepherd – The Pierced Heart
Cath Staincliffe – Letters to my Daughter’s Killer
John Williams – Stoner
We go back a fair few years, Charlie and me. Pretty much instant, the connection, the attraction too. We had things in common – places (I lived near Nottingham as a teenager, so my Nottingham wasn’t his – it was the Playhouse, Goose Fair, the City Ground, and the shops), music (listening to Miles as I write this), cats (ours was called Mingus. RIP), football (I was on the Trent End, still loyal to the Reds to this day, glory days long past, whilst he’s a County man).
Never very lucky in love, our Charlie. But attractive to women, no question. That crumpled, rumpled melancholy hard to resist – had we met in person, I’d have spectacularly failed to do so – but making it work in the long term, a lot tougher. He nearly found that, so very nearly, and it broke my heart when… but I won’t say, in case you don’t know, and if you don’t, you need to go back, as I’ve just done, to Lonely Hearts, and make his acquaintance for yourself, and follow him through the years, through to Darkness, Darkness.
I won’t say much about Darkness, Darkness, except that, as so many reviewers have already said, it’s a fitting coda to the series. It focuses on the miners’ strike – an event which still reverberates in Nottinghamshire and South Yorkshire, so that Nottingham football supporters still get called scabs by Yorkshire football supporters, though in both cases their parents were toddlers, if that, at the time of the strike – but it encompasses so much more. It’s an elegy really, a blues for Charlie.
So many of the cops whose investigations we follow on screen or on the page seem to be constructed according to a formula. A bit of (preferably traumatic) back story, a few quirks (an addiction, past or current, an obsession), and a tendency to go off piste, to break the rules. That can work – Rachel Bailey comes storming off the screen and the page (in Cath Staincliffe’s excellent novels) and into real life, so that when she (inevitably) does something monumentally daft, we, along with her long-suffering colleagues and friends, want to yell at her, shake her into common sense. The best ones, the ones we re-read even when we remember exactly who dunnit, where, why and how, turn that formula into someone we can invest in, not just in their ability to put the bad guy behind bars, but in their humanity, their vulnerability, their emotional life. And Charlie is one of the best, no question. Of course he has a back story (a broken marriage, nothing out of the ordinary), and a few quirks (his tendency to wear his most recent meal on his shirt front or his tie, for example). But he’s a rounded (and that’s not a crack about his waistline), nuanced, complicated character,
And so many of the narratives of crime and punishment that we consume rely on convoluted plots – plots not just in the sense of the narrative arc, but machinations, devilishly clever serial killers, hidden identities, etc. All very enjoyable, but bearing, one imagines, little relation to the day to day of policing. We suspend our disbelief, accept for the duration that in the picture postcard villages of Midsomer a deranged serial killer lurks behind every cottage doorway, or that the academics of Oxford are busier plotting their next murder than preparing their next research bid. The volume and the type of crime here is a tad more realistic, Charlie’s cases are more likely to involve cock-ups than conspiracies, individuals with chaotic lives committing chaotic crimes, often with consequences they could never have imagined. It’s not that there aren’t any serial killers, or any conspiracies, but they are interwoven with the mundanity, the banality, of ‘normal’ urban crime.
The other trope that those of us who watch the detectives can get a bit weary of, or even sickened by, is the reliance on sexual violence as a plot device. Again, this does feature in Charlie’s caseload over the years, as you’d expect. But there’s nothing sexy, nothing titillating here. The reality of rape and the fear of rape, the murky areas of human sexuality, the casual violence of language used towards women, are all shown clear-sightedly and compassionately, through Charlie’s eyes. It’s not that he’s so very PC. But his attractiveness to women isn’t just about his crumpled melancholy, it’s about his instinctive respect, his empathy. Even when he’s getting it wrong (as he does, often), fundamentally he’s a good man, someone you could lean on, trust. Those murky areas, and how fiction deals with them, are not just sub-text either – in both Living Proof and Still Water we confront them head on.
There’s so much humanity in these stories. And there’s music of course, flowing through them. There’s Millington’s regular assaults on the Petula Clark songbook, the bands at the Polish Club where Charlie dances with Marian, or the Otis Redding track that was playing when he met Elaine… But it’s the jazz that’s vital. It’s integral, it’s the atmosphere, those blue notes echoing Charlie’s melancholy, bringing out the noir on Nottingham’s mean streets. It’s the soundtrack to what we see of his life, to the daily grappling with petty crime, dysfunctional families, and the viciousness and brutality of which human beings are capable, and with the politics of policing, the admin, the power play. He goes home, and he finds a record, a track, that echoes his mood and as the music is described we can almost believe we’re hearing it too, the descriptions so vivid, so perceptive.
And so it seemed fitting, as I re-read the books, focusing less on the plot and more on the atmosphere, the background, the soundtrack, to put together a little playlist. One song for each novel. I hope Charlie would approve.
‘He’ll be okay. He’s got a flat white and yet another version of ‘Blue Monk’ to keep him warm’ (Darkness, Darkness, p. 416).
I’ll not worry about him then, and lord knows I have done sometimes, wondering if the sadness and the loneliness in him would take him over. But he’ll be okay. Cheers Charlie.
A Resnick playlist
Lonely Hearts (1989) Billie Holiday – (I don’t stand a) Ghost of a Chance (with you) (Music for Torching, 1955)
Rough Treatment (1990) Red Rodney Quintet – Shaw ‘Nuff (Red Rodney Returns, 1959)
Cutting Edge (1991) Art Pepper – Straight Life (Straight Life, 1979)
Off Minor (1992) Thelonious Monk – Off Minor (Monk’s Music, 1957)
Wasted Years (1993) Thelonious Monk – Evidence (Thelonious Monk at the Blackhawk, 1960)
Cold Light (1994) Duke Ellington Orchestra – Cottontail (The Carnegie Hall Concerts, 1943)
Living Proof (1995) Stan Tracey Duo – Some Other Blues (Live at the QEH, 1994)
Easy Meat (1996) Billie Holiday – Body and Soul (Body and Soul, 1957)
Still Water (1997) Miles Davis – Bag’s Groove (Bag’s Groove, 1957)
Last Rites (1998) Sandy Brown – In the Evening (In the Evening, 1970)
Cold in Hand (2008) Bessie Smith – Cold in Hand Blues (1925, The Bessie Smith Story, Vol. 3, 1951)
Darkness Darkness (2014) Thelonious Monk – Blue Monk (Thelonious Monk Trio, 1954)
It’s rare that I finish a novel that I really haven’t enjoyed and find myself obsessed with it. That’s what’s happened, though, with Kazuo Ishiguro’s The Unconsoled. This is a novel I was strongly recommended to read, and I can see why. I can recognise its beauty and brilliance. I can recognise the things it has in common with works that I love and revere – Butor’s L’Emploi du temps, for example, and W G Sebald’s Vertigo, or The Rings of Saturn.
But the experience of reading it – I so nearly gave up. It was as if I was trapped in one of my own anxiety dreams. Knowing I need to be somewhere, that I’m responsible for something, and finding that time and space are conspiring against me. From the start, the protagonist appears to know, vaguely, that he is here (wherever that is) in order to do something important, but not precisely what, when, or why. As in dreams, the relationship of the people he meets to him and to each other shifts and some who appear at the start to be strangers to him become in the course of the novel his father in law, wife and son. Other people from his past appear, incongruously, whilst his parents, expected throughout the course of the narrative, are never encountered at all. Even the common feature of such dreams that one is inappropriately (or not at all) dressed occurs as Ryder is swept off to undertake high-profile public engagements in his dressing gown (the inappropriateness appears to go unnoticed by everyone else). I read on with such reluctance, fearing that Ryder’s experiences would find their way into and would amplify my own nightly unsettledness – and they did.
It also tied in spookily well with my ongoing fascination with labyrinths and mazes. The city in which Ryder arrives, ahead of his concert, is one in which you could walk in circles indefinitely, as Ryder himself notes. He encounters dead ends – a street blocked off by a brick wall, with no way around it and no opening, but which lies between him and his destination. He is constantly getting lost, his journeys taking him seemingly very far from his destination, only for him to realise he has come back to his starting point. The novel traces ‘an odd, sepulchral, maze-like journey’, through a ‘deterring labyrinth’. But it’s not just a static labyrinth or maze, as baffling and disorienting as they can be, because space is constantly distorting itself, like Butor’s Bleston, which ‘grows and alters even while I explore it’ (Passing Time, pp. 182-3).
But it was only after I had, finally, finished the book that I remembered that I had, some months previously, lent it to someone else, someone who suffers from serious problems with short-term memory, and increasingly with anxiety associated with that condition, needing frequent reassurance as what happened even ten minutes ago is lost in fog. I had wondered idly at other times what impact this would have on her reading – and she does read, making good use of her local library – surely after a few pages she would have forgotten what she had just read, and have to go back again and again, so that she would never actually finish the book? But this book … as she read it, did she recognise her own anxieties in its pages?
It seems to me that living with that kind of memory loss must be like a waking anxiety dream. To have, throughout the day, that sense that you are missing something, that you should be doing something, that you should be somewhere, and to be unable to retrieve the information with any sense of certainty… If you write things down, how do you know for sure whether the writing is telling you that something will happen, or that something has happened? As events from the past float into your memory you have no way of anchoring them in chronology, they could have happened yesterday, or months ago. The gaps are troubling so you may fill them with explanations that start off as speculation but become fixed as you hang on to them for reassurance that you know what happened really. And whilst sometimes you are anxious and you know that the cause of the fear is that your memory is so poor, at other times you don’t remember that you can’t remember, and deny that you need help and can’t see why people keep reminding you of things.
I can’t see that I will want to re-read The Unconsoled any time soon. It simply troubles me too much, taps too accurately into my own anxieties and insecurities, and into the fog of memory loss that I witness second hand. But it’s brilliant, and it’s still in my head, weeks after I reached the final page.
The long history of Belle Vue Gardens in Manchester is being celebrated this month, and it seems timely to note its appearance, under the name of Pleasance Gardens, in Michel Butor’s Manchester-inspired 1956 novel L’Emploi du temps (Passing Time).
Butor’s view of Manchester (Bleston in the novel) was, it must be admitted, largely negative. He loathed the climate, and the food, and seems to have been deeply unhappy in the city, where he arrived to take up the post of lecteur in the French department at the University in 1952.
He seems to have taken to Belle Vue, however. Pleasance Gardens, along with the various peripatetic fairs which rotated around the periphery of the city, on the areas of waste land, represent a mobile and open element in a closed, even carceral city, and a window on different kinds of community than those indigenous to Bleston. The narrator sees the friends he knows in a different light in these places, which may be in Bleston but are not fully part of it and don’t share its malaise.
Pleasance Gardens appears on the frontispiece map, in the bottom left-hand corner, its shape not dissimilar to that of the real Belle Vue. Butor took from the real city of Manchester the geography and architecture that interested him and that fitted with his narrative preoccupations, and ignored or altered the rest. The descriptions include a great deal of precision and detail – however, the historians of Belle Vue will have to judge where the fictional version departs from its model.
He describes the entrance to the Gardens:
The monumental entrance-gates whose two square towers, adorned with grimy stucco, are crowned … with two enormous yellow half-moons fixed to lightning conductors, and are joined by two iron rods bearing an inscription in red-painted letters beaded with electric bulbs then gleaming softly pink: ‘Pleasance Gardens’.
The big folding door which is armoured as if to protect a safe, and only opens on great occasions and for important processions, whereas we, the daily crowd, have to make our way in by one of the six wicket-gates on the right (those on the left are for the way out) with their turnstiles and ticket collectors’
The earthenware topped table which displayed, on a larger scale and in greater detail, with fresh colours and crude lettering, that green quarter circle with its apex pointing towards the town centre…
The tickets themselves are described in detail:
the slip of grey cardboard covered with printed lettering: On one side in tall capitals PLEASANCE GARDENS, and then in smaller letters: Valid for one visitor, Sunday, December 2nd. And on the other side: REMEMBER that this garden is intended for recreation, not for disorderly behaviour; please keep your dignity in all circumstances’
On this winter visit:
There was scarcely anybody in the big, cheap restaurants or in the billiard-rooms; avenues, all round, bore black and white arrows directing one to the bear-pit, the stadium, the switch-back, the aviaries, the exit and the monkey-house.
We walked in silence past roundabouts with metal aeroplanes and wooden horses, … and past the station for the miniature railway where three children sat shivering in an open truck waiting to start; and past the lake, which was empty because its concrete bottom was being cleaned’.
Posters everywhere echoed: ‘Come back for the New Year, come and see the fireworks’.
A later visit, in summer, followed one of the fires that feature so frequently in the novel. Belle Vue was devastated by fire in 1958, and whether this account was inspired by a real event I do not know – it may well be that whilst Manchester was plagued by an unusually large number of arson attacks over the period that Butor was there, he extrapolated from that to a fire at Pleasance Gardens, purely for narrative purposes.
In the open air cafe that is set up there in summer in the middle of the zoological section, among the wolves’ and foxes’ cages and the ragged-winged cranes’ enclosure, the duck-ponds and the seals’ basins with their white-painted concrete islands. I could see, above the stationary booths of this mammoth fairground, eerily outlined in the faint luminous haze, the tops of the calcined posts of the Scenic Railway, with a few beams still fixed to them like gibbets or like the branch-stumps that project from the peeled trunks of trees struck by lightning; and I listened to the noise of the demolition-workers’ axes’
If Butor generally warmed to the Gardens, his portrayal of the animals in the Zoo is less enthusiastic – he speaks of the cries of the animals and birds mingling with the noise of demolition, of melancholy zebras and wretched wild beasts, and of their howls during the firework display. Perhaps their imprisonment chimed uncomfortably with his own sense of being trapped in the city.
W G Sebald describes, in his extraordinary novel Austerlitz, a recording of a film made at the Terezin concentration camp, as part of the effort to present it as a humane and civilised place to visitors from the Red Cross (overcrowding in the camp was reduced before the visit by wholesale deportations to Auschwitz, and once the visitors had left, remaining inmates were summarily despatched too).
In Austerlitz’s search for a glimpse of his mother, who had been interned there before her death, he slows the film down to give him a greater chance of spotting her fleeting image. This creates many strange effects, the inmates now move wearily, not quite touching the ground, blurring and dissolving. But:
‘Strangest of all, however, said Austerlitz, was the transformation of sounds in this slow motion version. In a brief sequence at the very beginning, … the merry polka by some Austrian operetta composer on the soundtrack … had become a funeral march dragging along at a grotesquely sluggish pace, and the rest of the musical pieces accompanying the film, among which I could identify only the can-can from La Vie Parisienne and the scherzo from Mendelssohn’s Midsummer Night’s Dream, also moved in a kind of subterranean world, through the most nightmarish depths, said Austerlitz, to which no human voice has ever descended’. (Austerlitz, pp. 348-9)
The deception that the film sought to achieve is exposed.
The association between Terezin and music has another dimension, however. A remarkable number of inmates were Czech composers, musicians and conductors, and this, combined with the Nazi attempt to make the camp appear to be a model community with a rich cultural life, gave opportunities for music to be created and performed here. There is no easy comfort in this fact, when one knows that most of those who played, composed and conducted died here, or at Auschwitz, and that the moments of escape into this other world were few, and may in some ways have made the contrast with the brutality and barbarism of the regime even harder to bear.
The music of Terezin, however, now reaches new audiences through performance and recordings. Each time we hear the voices of those the Nazis sought to silence, that is a small victory.
Czech conductor Rafael Schachter – transported to Terezin in 1941, organised a performance of Smetana’s The Bartered Bride and finally of Verdi’s Requiem, performed for the last time just a few weeks before his transfer to Auschwitz in October 1944
Jazz musician and arranger Fritz Weiss – arrived in Terezin in 1941, set up a dixieland band called the Ghetto Swingers. Fritz was sent to Auschwitz in 1944, with his father, and was killed there on his 25th birthday.
Viktor Ullmann – Silesian/Austrian composer, pupil of Schoenberg, was transported to Terezin in 1942. He composed many works there, all but thirteen of which have been lost, before being transported to Auschwitz in 1944, where he was killed.
Gideon Klein – Czech pianist and composer, who like Ullmann composed many works in the camp as well as performing regularly in recitals. Just after completing his final string trio, he was sent to Auschwitz and from there to Furstengrube, where he died during the liquidation of the camp.
Pavel Haas – Czech composer, exponent of Janacek’s school of composition, who used elements of folk and jazz in his work. He was transferred to Auschwitz after the propaganda film was completed, and was murdered there.
Hans Krasa wrote the children’s opera Brundibar in 1938, and it was first performed in the Jewish orphanage in Prague. After Krasa and many of his cast were sent to Terezin, he reconstructed the score from memory, and the opera was performed there regularly, culminating in a performance for the propaganda film. Krasa and his performers were sent to Auschwitz as soon as the filming was finished, and were gassed there.
Not all of the musicians of Terezin were killed. Alice Herz-Sommer survived, along with her son. Now 110, Alice sees life as miraculous and beautiful, she has chosen hope over hate.
“The world is wonderful, it’s full of beauty and full of miracles. Our brain, the memory, how does it work? Not to speak of art and music … It is a miracle.”
It has been a funny old year. Funny peculiar, though not without the odd moment of mirth and merriment along the way.
I came back from one secondment to my regular job in January, and went off on the next secondment in December. This new one is a major change – working for HEFCE, based at home when not attending meetings in various exotic parts of the UK (oh, OK then, Croydon, Birmingham, Manchester, Dorking…). It’s a fantastic opportunity, and challenges the way I organise my life as well as requiring me to acquire new knowledge and new skills.
I graduated, again. Did the whole gown and mortar board thing which I hadn’t been fussed about when I was 21 and graduating for the first time. And then, with barely a pause, on to the doctorate. Studying part-time, it’s going to be a long haul, with who knows what possibilities at the end of it, but I’m loving it.
In February, a beloved friend and colleague died, and we – his family, friends, colleagues, students – grieved but also worked together to put on an amazing event in his honour, the 24 Hour Inspire. We raised money for local cancer charities, and have raised more since, through an art exhibition, plant and cake sales and various 10k runs/marathon bike rides, etc. And we’re now planning the 24 Hour Inspire 2014, and the publication of Tim’s diary. He will continue to inspire.
Culturally, my high points in 2013 have been:
- Chimamanda Ngozi Adichie at the Showroom, talking about Americanah, and Half of a Yellow Sun
- Peter Hill premiering newly discovered/completed Messiaen at the Upper Chapel (and playing Bach, Berg and Schoenberg too)
- Arnie Somogyi’s Scenes in the City, playing Mingus at Sheffield Jazz
- Tramlines – the Enid in the City Hall, Soukous Revelation in the Peace Gardens, Jim Jones Revue and Selecter at Devonshire Green. (And more, but those were the absolute top bits).
- The 24 Hour Inspire – 24 hours of lectures on life, the universe and everything, including Ed Daw’s blues piano, Rachel Falconer on poetry and birds, Jenny Saul on implicit bias, Claire McGourlay on the Innocence Project, and personal narratives from Brendan Stone and Elena Rodriguez-Falcon. Plus John Cockburn’s rendition of (What’s so Funny ’bout) Peace Love and Understanding, and my favourite Beatles B-side, Things we Said Today, and more busking from Mike Weir, Graham McElearney and Eugenia Chung. And more, lots more.
- Fabulous Beethoven quartets/quintet from the Elias at the Upper Chapel
- A magical Winter’s Tale at the Crucible
- Two awesome Britten operas (Peter Grimes and Death in Venice) from Opera North at Leeds Grand
- New (to me) authors enjoyed this year: Maggie O’Farrell, Louise Doughty, Lucy Caldwell, C J Sansom, Alison Moore, Edward St Aubyn, Rebecca Solnit, Wilkie Collins, Jonathan Franzen
- Wonderful new books from authors I’ve enjoyed before: Stephen King’s Dr Sleep and Joyland, Lynn Shepherd’s A Treacherous Likeness, Jon McGregor‘s This isn’t the Sort of Thing…., Robert Harris’s An Officer and a Spy
- Finally finished Proust’s Sodome et Gomorrhe. Allons-y, to La Prisonniere!
- I’ve learned to love Marvel superheroes (Avengers Assemble! Thor! Iron Man! Agents of Shield!), and have thrilled to The Walking Dead, Orphan Black (virtuoso performance(s) from Tatiana Maslany), Utopia and, of course, Dr Who.
- Speaking of which, not only an absolutely stonking 50th anniversary episode, but also a fascinating and very touching drama about the show’s early days, with David Bradley as William Hartnell, the sweet and funny The Five-ish Doctors, with Peter Davison, Sylvester McCoy and Colin Baker sending themselves and everyone else up with great affection, and Matthew Sweet’s Culture Show special. And the Christmas episode…
- Other cracking telly – Broadchurch, Homeland, Misfits, The Fall, Southcliffe, The Guilty, The Americans… And from across the Channel, not only another masterclass in French profanity from Spiral, but the wonderful The Returned
- And other top films – Joss Whedon’s Much Ado, Lore, The Hobbit Pts 1 & 2, Lincoln, and Patience (after Sebald).
About the blog itself. It’s been less focused on my areas of research recently, and that will continue to be the case, as I’m working on the PhD. The odd digression will find its place here – as Tim used to say, tangents are there to be gone off on, and the blog is a good way of nailing those (to mix my metaphors somewhat) and stopping them from distracting me for too long. I shall be continuing to go on about all sorts of other things that pique my interest. In particular the blog will continue to be a place where refugee stories are foregrounded, as a riposte to the mean and dishonest coverage which those stories tend to receive.
Over the last year, my posting has been somewhat erratic. I note that I didn’t write anything between March and June (I made up for it in June, however, with a Refugee Week blog-blitz, as well as a piece about Last Year at Marienbad which I still intend to follow up. That hiatus may have had something to do with being in the final stages of my degree – finishing off my dissertation, and a last batch of essays and presentations.
There are so many fantastic bloggers out there, too many to do justice to. We lost one this year, as the great Norman Geras passed away. But I’ll continue to enjoy, and to share/reblog That’s How the Light Gets In, Nowt Much to Say, and Futile Democracy, amongst others. For my research interests, I will no doubt continue to find lots to think about and follow up in blogs from Decayetude and Vertigo.
So, thanks to the aforementioned bloggers, to the various people with whom I’ve shared the cultural delights enumerated above, to friends and family who’ve supported me in my ventures and refrained (mostly) from telling me I’m mad to try to do so many things.
Thing is, I have a history of depression. I know that the best way for me to fight that, to avoid sliding back into that dark pit, is to do lots of stuff I care about. So, not just the job – which I care about, passionately – and my wonderful family, but research, writing, ensuring that we do Tim proud via the charity, and so on. I am very aware that there’s a tipping point, that if I do too much stuff I care about, given that I also have to do stuff that I have to do, just because I have to do it, the anxiety of having so much going on can itself lead to sleepless nights, which make me less able to cope, thus leading to more worrying and so on and on… It’s all about balance, and about having support when I need it. So, to all of you who, whether you know it or not, provide that support, and help me to keep that balance, a heartfelt thanks.
In particular, over this last year, I’d like to thank:
For unstinting support and encouragement through the part-time degree and especially as I reached the final stages – tutors Sophie Belot and Annie Rouxeville, and classmate Liz Perry. And a special thanks to Chris Turgoose for ensuring that my graduation gown stayed put via an ingenious arrangement of string and safety pins.
For support and encouragement to go on to the PhD – the aforementioned Sophie, Annie, and Liz, plus Rachel Falconer, Helen Finch, and my supervisors Amanda Crawley Jackson and Richard Steadman-Jones
For their contributions to the work of Inspiration for Life, and the 24 Hour Inspire, and their support in commemorating and celebrating Tim – Tracy Hilton, Ruth Arnold, Vanessa Toulmin, Chris Sexton, John Cockburn, Lee Thompson, Matt Mears and David Mowbray
My family, of course, without whom…
And, finally, Tim. I’d have loved to share this year’s triumphs and tribulations with him.
Have a wonderful 2014 all of you.
Terry Pitts’ Vertigo blog reviews a fascinating and important new study of W G Sebald by Helen Finch.
Originally posted on Vertigo:
Part of the disorientation of Sebald’s characters can be viewed as precisely an attempt to go astray, to resist compulsory heterosexuality and to transgress the borders of Germany and Europe in search of a queer affinity that might provide a source of resistance to the straightening and oppressive orientation of bourgeois society and family.
Helen Finch’s new book Sebald’s Bachelors: Queer Resistance and the Unconforming Life is an ambitious, thin book that contains a dense, closely argued “queer reading of Sebald’s work.” The result is one of the most important books on Sebald to date. I am sure that there are a number of Sebald readers, casual and otherwise, who will look askance at a queer reading of his work, but, as Finch demonstrates, the clues – both obvious and coded – are there in plain sight.
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