Mere presence

Housekeeping, by Marilynne Robinson (published 2004)..

Two sisters grow up in a small  town in Idaho beside the large lake that claimed the lives of both their grandfather and their mother, and the railway bridge that spans it.  Their grandmother looks after them until she too dies, and then two great-aunts who are more accustomed to  shabby-genteel life in a hotel room than  managing a household with children, and then finally their odd, solitary, distracted aunt Sylvie, who has lived her life as a transient, picking up work here and there, riding in boxcars, gathering odd little yarns from passing acquaintances.  The sisters and their aunt live a deeply eccentric life, largely cut off from the rest of the community.  One of the sisters (Lucille) eventually breaks free of this, the other (Ruth, who is also the narrator) does not.

An important character in this book is the material world -the lake and its shores, the house, the bridge- which for a lot of the time is Ruth’s (and her aunt’s and her sister’s) main companion.  Here, for instance, Ruth and Lucille are out by themselves on the frozen lake.  Over on the shore fires are burning in barrels to warm the townsfolk who come down to skate on the ice, but the two sistes, typically, are far out at the extremity of the area that is swept of snow to provide a skating rink :

The town itself seemed a negligible thing from such a distance.  Were it not for the clutter on the shore, the flames and the tremulous pillars of heat that stood above the barrels, and of course the skaters who swooped and sailed and made bright, brave sounds, it would have been possible not to notice the town at all.  The mountains that stood up behind it were covered with snow and hidden in the white sky, and the lake was sealed and hidden, yet their eclipse had not made the town more prominent.  Indeed, where we were we could feel the reach of the lake far behind us, and far beyond us on either side, in a spacious silence that seemed to ring like glass.

Or here is a beach on the lake:

The shore drifted in a long, slow curve, outward to a point, beyond which three step islands of diminishing size continued the sweep of the land toward the depths of the lake, tentatively, like an ellipsis.  The point was high and stony, crested with fir trees.  At its foot a narrow margin of brown sand abstracted its crude shape into one pure curve of calligraphic delicacy, sweeping, again, toward the lake.

These are empty vistas.  Their emptiness is part of their mystery and their allure.  But human relationships are evoked with the same elegance and economy. Here is Lucille beginning to pull away from her sister Ruth and from the eccentric isolation of their life with Sylvie.  Ruth has gone to fetch a dictionary at Lucille’s request (in order to find out what ‘pinking sheers’ are, Lucille having decided to make herself some decent clothes from a pattern) and, opening up the book, she finds it full of dried flowers, carefully pressed there by their long-dead dead grandfather:

“Let me see that,” Lucille said.  She took the book by each end of its spine and shook it.  Scores of flowers and petals fell and drifted from between the pages.  Lucille kept shaking until nothing more came, and then she handed the dictionary back to me.  “Pinking sheers,” she said.

“What will we do with these flowers?”

“Put them in the stove.”

“Why do that?”

“What are they good for?”  This was not a real question, of course.  Lucille lowered her coppery brows and peered at me boldly, as if to say, It is not crime to harden my heart against pansies that have smothered in darkness for forty years.

A theme that runs through the book is the paradoxical nature of loss, the way that something or someone lost can be a  much bigger matter than the actual presence of that something or someone would ever have been.  Lucille is fighting this when she hardens her heart against the flowers.  And it is her that manages to escape the odd solitarly menage she shares with her aunt and sister.

Towards the end of the book, Ruth reflects on how how she and Lucille lived lives dominated by the shadow of their mother’s absence.  But…

…if she had simply bought us home again to the high frame apartment building with the scaffolding of stairs, I would not remember her that way.  Her eccentricities might have irked and embarassed us when we grew older…  We would have laughed together at our strangely solitary childhood, in light of which our failings would seem inevitable, and all our attainments miraculous.  Then we would telephone her out of guilt and nostalgia, and laugh bitterly afterward because she asked us nothing, and told us nothing, and fell silent from time to time, and was glad to get off the phone.

Ruth’s degree of insight stretches credulity a little here.  One accepts the literariness and poetry of Ruth’s voice as a device, but it is hard to believe this drifting isolate, looking in at the world from outside, could really acquire any kind of understanding of the bitter guilty dutifulness of the middle-aged grownup children of a not-very-satisfactory mother.

But never mind.  What I got very powerfully from this book -and I keep coming back to it in my mind- is a demonstration of how absence becomes addictive.  Look at the photo on the cover.  How much more myterious and alluring is the part of the railway track in the distance that is disappearing into the mist, than the part in the foreground you can see perfectly clearly.  Dwell too much and too long on absence, and mere presence will never be enough.

Parentless

It’s nearly a year since my mother died.  My father died a couple of years previously.  So I am parentless.  There’s been a difficult period of adjustment to this fact, but I’m finally beginning to get used to it.  It feels good.

I was present at the moment of my mother’s death but I felt nothing.  I felt a stony absence where one might expect feeling to be.  It was the same at her funeral.  To this day, I have not shed a single tear for her.  (I only shed a couple for my father.)   Immediately after my mother died, I sat alone with her body for a while. I didn’t speak to her, and I am still careful not to speak to her as some people like to do to their dead. I do not want to give any sort of house room to the idea that she might be alive or listening.  Nevertheless, as I sat by her body, I imagined she spoke to me.  As it became more gaunt in the final days, her face, with its prominent nose and pointy chin, had become a little witch-like, reminding me of her sharp face in pictures from my early childhood which always stir in me a certain icy fear.  And now, alone with her body, I imagined her saying to me in a harsh, mocking voice, ‘Don’t imagine you’ve got away from me because you never will.  Now I’m inside your head.’ I didn’t literally hear this, but it was vivid enough to frighten me, and I had to resist an impulse to run from the room.

I should be clear that she had never actually spoken to me in that way since I was a child.  She was no monster.  She had a number of admirable qualities.  She was creative and talented and liked to laugh. She was a good neighbour.  I don’t think, generally speaking, that she was deliberately cruel or unkind, and I completely understand that there were reasons for her limitations.   She was also very affectionate towards me and, a lot of the time, I enjoyed her company.  But my absence of grief tells me one thing that I wasn’t entirely sure about until now: I did not love her.

It feels wrong to say it, it feels ungrateful, it feels disloyal, but love isn’t something you can just switch on.  Undoubtedly my mother deserved to be loved, and I performed, as best I could, the part of a loving and affectionate son.  I’d even say the affection was real.  It just wasn’t love.

My mother said to me on more than one occasion that she herself was only capable of loving anyone if she pitied them.  This explained a lot.  I’m simplifying of course, but there was a sense in which, when we were children, you simply couldn’t get loved by her by being brave or healthy or happy.  On the other hand, if you were sick, or maimed, or distressed, my mother, who was a doctor, was always interested, to the point  that there was often rivalry between myself and my siblings not to be the best, but to be the most wounded.

I didn’t completely get this until sometime into adulthood.  Indeed I think that for a while I myself bought into the idea myself that love and pity were synonymous, and (even more weirdly) that being maimed was synonymous with being lovable. (Thank god, I was past this before my own children were born.)  But the fact was that revealing your wounds to my mother, while it would certainly attract her interest, came at a great cost.  She would want to wallow in them, to build them up and make them define you, and to discuss them with her friends, much as other parents discuss their children’s changing circumstances and achievements, the latter being things that, like my father, she showed remarkably little interest in.

There was also an ever present risk that she might suddenly turn, for though she preferred us to be wounded, she did not want us to be more wounded than herself. The competition to be the most wounded was one she saw herself as very much part of and, if you made her feel that her position was challenged, her frightening, sudden, witch-like anger might suddenly flare and she’d tell you that your problems were nothing compared with hers.

So I learned as an adult never to reveal anything of my inner self, and certainly not to tell her of any problems I might have.  We developed a not-unpleasant, bantering, affectionate kind of relationship which I think she enjoyed, and often I did too, but I did not trust her with my core self, or anything even close to it.  In fact I think I was around forty before I learnt to trust my core self with any other adult at all.  And I guess that explains why it was possible for me to feel affection for her (which, after all, you can feel for people you don’t know very well),  but not love, which surely requires that you are able to make contact, to some degree, at a level that feels like your core.

I know what grief feels like.  Grief is like a hard cold wall, seperating you from something precious that someone gave you and that you can never, ever have from them again.   Her death has not separated me from something precious and  I have not grieved for her.  It’s true that I have often grieved, over my life, for the absence of something I would have liked to have had from her and my father, and, in the aftermath of their deaths, I have certainly recapitulated some of that.  (Four months after she died I saw a news story about the death of the ‘clown of Aleppo‘, a brave young man who did his best to cheer up the children there, and for a short time I was quite beside myself, though it was the first time I’d ever heard of him!)  But that’s another matter entirely.

I find myself thinking of suns and black holes.  Both have gravity, and both can draw other, smaller bodies into their orbit, but suns give out warmth, and black holes suck it in.   I would have liked parents who could warm me, but at least now they can no longer suck away my own warmth.  And I don’t even have to feel badly about depriving them of it, because at last those two needy people no longer need anything at all.

Crash

The most serious car crash I have ever been in happened nearly thirty years ago.  We were driving from out of town towards the Elizabeth Way Bridge in Cambridge, returning from a trip to the sea, and my wife was just stopping for a red light at a pedestrian crossing, when a young man coming in the other direction at about 70MPH lost control of his scooter as he came down the bridge, veering wildly across the road to smash right into the front of our car.  The engine compartment was crumpled like a carboard box and the scooter lay in pieces on the road.  We were showered with fragments of our own windscreen.  There was a stink of smoke and hot oil.

I wasn’t sure what to do, but having established that none of us were hurt beyond a few small scratches, I climbed out of the car.  The scooter rider had somersaulted right over the roof of the car and was sprawled on his back on the road behind us.   He was unconscious.  His skin was grey with shock.  The only sign that he was alive was a pop-pop-pop of his breath coming out through his lips.  I had no idea what to do for him, and was in no state to think clearly about anything at all.  (Later it made me think about soldiers in wars, facing traumatic events, one after another, for hours on end: Tom Hanks in that amazing scene in Saving Private Ryan, standing in the middle of  the Normandy landings in a kind of disconnected fog.)  Other people took charge of him.  An ambulance came.  He died in hospital that same night.

People came out of houses and from the cars that had stopped behind us to attend to the injured man. Someone invited my family into their house and made drinks for our frightened kids: my oldest daughter aged three managing her fear by announcing things very loudly and firmly to everyone present.  Someone else came out with a fire extinguisher and sprayed it over our crushed engine. The whole thing -our adrenalin-flooded bloodstreams, the nearness of death, us being the centre of attention, the sudden emergence of a kind of temporary community from behind the closed doors of houses and cars- had an eerie, unreal feeling.

The next few days were strange.  A police officer came round and so did the parents of the dead man who the police had put in touch with us. He’d been their only child, and had just left their house after a meal when he had the crash.  (He’d been through a difficult time, they told us, but they’d been hoping that he’d begun to turn a corner in his life.  They had barely begun to process what had happened.)   And we experienced something that I wouldn’t have anticipated or thought possible: every few minutes for the next couple of days, the crash replayed itself in my head.   I almost literally heard and felt the moment of impact, over and over again.  My whole head ached with it.

Going back to the immediate aftermath of the crash itself, one thing I remember, because I made a particular point of remembering it, is me telling my future self, ‘Looking back on this, with all the strangeness, all the heightened physical arousal, all the drama, it may seem to have a kind of glamour, like the glamour that people imagine that war has.  But I’m telling you now, it is not glamorous, not in any way.’

* * *

I’ve just read Ballard’s Crash, which of course is all about the glamour of car crashes.  Although I’ve read a lot of his work (I’ve written about some of it here, here and here), I’ve avoided this book up to now, unable to face its perversity.   But I’ve finally read it, 44 years after it came out.

By all the rules Crash ought to be completely unreadable not only because of its subject matter -the whole book is about a sexual obsession with car crashes- but also because, in common with other books of Ballard’s, it lacks the progression, the unfolding, that you expect in a novel.  The third paragraph is already talking about ‘windshield glass frosting around her face like a death-born Aphrodite…  her uterus pierced by the heraldic beak of the manufacturer’s medallion, his semen emptying across the luminscent dials that registered for ever the last temperature and fuel levels of the engine’.   The narrator (a character teasingly named Ballard) is hooked on this stuff pretty much from the off, and the rest of the book is filled with scenes and language of this kind, which get neither more nor less extreme.  In place of progression, the book remorsely repeats, over and over, the same basic ideas.  Again and again we are presented with mixtures of some combination of blood, semen and mucus with engine oil or coolant.  Again and again the image recurs of parts of the dashboard imprinted on the human body.  Again and again the characters obsess about matching the angles of the human body (intact or mangled) and the angles of sex, with the angles of a car in its smashed or pre-smashed form.

And yet it is readable. It is actually a lot more readable than many more conventional novels I’ve read or attempted to read recently, and I’m trying to work out why.

For one thng, as I’ve noticed before, Ballard’s books work like paintings.  Words have necessarily to be read one at a time, but the time element is much less important in Ballard than is conventionally the case with novels.  What emerges is not so much a story as a picture, very detailed and intricate, which all that repetition, like repeated brush strokes, serves to consolidate in the mind.

Ballard’s writing is also emotionally very cool.  Characters are never appalled, or terrified, or horrified, or grief-stricken.  At most they are ‘uneasy’ or ‘unsettled’.  And they are viewed with a cool eye too.  There’s no authorial judgement on them.  These people are driven by a bizarre sexual obsession but the way it is presented doesn’t really invite a sexual response or even a response of disgust or revulsion, in spite of the extremely graphic details involving ‘faecal matter’, ‘anal mucus’, ‘vaginal fluid’ etc etc  You could say the presentation is clinical, but it also makes me think of the psychological phenomenon called dissociation, an emotional detachment from reality.   In psychology, dissociation is typically a defensive response to a reality too terrible to process (again, I think of Hanks’s character standing dazed on that beach in Normandy), and in a book like this it serves the same kind of function for the reader, making it possible to continue through material which otherwise might drive one to fling the book away.  Only later, as I gradually processed what I’d read, did I see that I’ve been presented with a vision of modern consumer society as pornography, as artifical images that are simultaneously hyper-seductive and completely dehumanised.

The other thing that keeps you reading is simply the intensity of the vision:

We had entered an immense traffic jam. From the junction of the motorway and Western Avenue to the ascent ramp of the flyover the traffic lanes were packed with vehicles, windshields leaching out the molten colours of the sun setting above the western suburbs of London. Brake-lights flared in the evening air, glowing in the huge pool of cellulosed bodies. Vaughan sat with one arm out of the passenger window. He slapped the door impatiently, pounding the panel with his fist. To our right the high wall of a double-decker airline coach formed a cliff of faces. The passengers at the windows resembled rows of the dead looking down at us from the galleries of a columbarium. The enormous energy of the twentieth century, enough to drive the planet into a new orbit around a happier star, was being expended to maintain this immense motionless pause.

* * *

It was planes rather than cars that did it for me as a child, and specifically war planes.  It was that same glamour, that same intoxicating mixture of speed and modernity and death.

I remember when I pretty small, maybe 6 or 7, I developed for a while a fear that a plane would crash into our house.  I never told anyone about it, but it haunted me continuously, day after day.  But even then I didn’t stop playing with planes.  I can even remember noticing the contradiction once while playing on my own, noticing that I was living in fear of planes, even while I fantasised about being a fighter pilot.  I had compartmentalised my mind so effectively that planes could simultaneously be objects of desire and objects of dread.

This makes me think of Ballard’s childhood experiences in Shanghai, described in fictionalised form in Empire of the Sun.  Surrounded by horrors, completely in the power of enemies, he learns to admire and be excited by the things that most threaten him.  I guess this was where he learnt to separate emotions from phenomena in that way, so fundamental to his writing voice, that allows him to explore territory where almost no one else would go.

To Become a Warrior 2017

I first wrote ‘To Become a Warrior’ in 2002.  It was published in Interzone, and subequently in one of Gardner Dozois’s Year’s Best anthologies.  It’s about Carl, a poorly educated, not particularly bright young man who’s been left outside of the prosperous, liberal society of which he is nominally a citizen, and his recruitment by a murderous gang of ‘shifters’ who want to take the world back to the world of the Vikings.

It was one of a number of stories set in this world, the first being ‘The Welfare Man’ written in 1993.   Judging by reprints in anthologies and reader’s polls, they have been among my most popular stories.  However, I didn’t include them in either of my story collections, choosing instead to incorporate them into my second novel, Marcher.

My work as a social worker – when I wrote the story I was only a couple of years on from working as the manager of a social work team- had given me a powerful sense that even a prosperous, economically booming, middle class town like Cambridge (where I lived then and still live now), has another side to it, people who share no part of the prosperity.  There was the famous Cambridge, with its beautiful old buildings, its ancient University, its IT and biotech industries, its bright, educated, liberal-minded citizens, and there was this alternate Cambridge which no one comes to visit, where I would go as part of my job.

When I incorporated ‘To Become a Warrior’ into the novel Marcher, I shifted from first to third person, added and changed details to make it fit in with the rest of the book, swapped around some characters, and gave the story two additional endings, in keeping with the novel’s theme of branching time lines and alternate presents.  Below, I have restored the original first person short story, except that  this time I have opted for one of the other endings.

I’m putting it out here now to mark the inauguration of Donald Trump.   A clamour of rage and fear is going up today from the members of, so to speak, my own tribe, the liberal middle class.  We see everything we value under threat, and we look around for people to blame.  But I have a strong sense, which I’ve tried rather clumsily to explore in previous posts (for instance this), that we ourselves must take a share of that blame. If you leave people outside, they turn to others who offer to take them in.

Anyway, here it is in full, ‘To Become a Warrior ‘ to mark this historic day:

Continue reading “To Become a Warrior 2017”

The smartsplaining voice

There’s a lot of talk these days about a growing contempt in the world for evidence, for experts, for reason itself.  It’s a real concern. Not much hope for the future if decades of meticulous scientific work on climate change can all be tossed aside by know-nothing ‘common sense’.  Not much hope for a decent society if obvious lies can be uncritically accepted as true, while facts are dismissed out of hand

But another kind of ugliness that’s been coming to the fore lately is the voice that says, in effect, we smart people know best, and those thick people should just shut up and wait to be told what’s good for them.  Weary, angry, contemptuous: the smartsplaining voice, it might be called.

Clever educated people who are good at reasoning, should be careful not to assume that this alone makes them right.

I remember once in my social work days, visiting a barely literate client and her saying to me resentfully at the end: ‘I suppose you’re going to go away and write this all down, aren’t you?’  However reasonable I was, however conscientious, the fact remained that my interpretation of events was going to go on the record, and hers was not.

A few years later, after a change of job, I acquired a reading ticket for the Cambridge University Library, and had the habit for a while of sitting in the cafe over there to write.  As I half-listened to the people at the tables around me, academics and students coming and going with their cups of coffee and tea, I noticed that I could go all day without even once hearing a regional accent of any kind, only the distinctive drawl of the British private school system.

There’s no question in my mind that every one of those people in the library would have been much better at rational argument and far better-informed than that former client of mine in her council house three miles away.  But every one of their arguments, however beautifully constructed, would necessarily be based on their own experience and what they’d read, and I’ll bet that neither their experience nor their reading equipped them to know anything about that woman’s world.  (This is true of me too, incidentally, although my former job afforded me small glimpses into it.)

So when some of them become politicians, or economists, or entrepreneurs, their judgements about the world, however carefully reasoned, will take almost no account at all of what that woman feels, what’s important to her, how she imbues her life with meaning.  Their judgements will, on the other hand, be very amply informed by the needs of people like themselves, what’s important to them, what imbues their life with meaning.

And that makes me think that what may look like a revolt against reason itself, may be in fact be a revolt against a class that is very good at reasoning, and very good at explaining why the world ought to be run in a way that suits that very same class.   Not revolt against reason as such, in other words, but revolt against reasoning that (however unintentionally) is rigged in favour of the reasoners.   After all, if you’re good at reasoning, you’re good at rationalising too.

Which is why I think that members of that class, including me, would do better to think about what we’ve been excluding from our view of the world, than to dismiss whole groups of people as ignorant thugs.

Hate-filled ignorant scum

I’ve been struck for some time by the increasing invisibility of working class people in Britain.   Or perhaps it would be more accurate to say, I’ve been struck by the increasing invisibility of class as a social division.  The concerns of progressive-minded people have shifted away from class to other divisions -gender, ethnicity, sexual orientation, ability/disability- to a degree that, as Owen Jones points out at the beginning of his important book, Chavs*, the kind of derogatory comment that would be completely unacceptable if applied to, say, an ethnic minority, or to women, or to people with disabilities, can now be quite openly made about people who are working class or poor.  This was particularly evident to me in the wake of the Brexit referendum.  I was very stuck, not only by the way that liberal middle-class Remain voters tended to characterise working-class Leave voters as ignorant, stupid, bigoted and racist, but also by their shock at being defeated.  Many Remain voters, it seemed, only knew folk who voted Remain.  There was a whole bloc of people out there, whose lives and opinions they knew almost nothing about.

When I was growing up in the 60s and 70s working class people were not invisible in the same way.   The city I grew up in, Oxford, was at that time a major car-manufacturing town.  Trade unions were powerful working-class organisations and, though I came from a middle-class and not particularly political background, in my teens I would have been able to name probably nine or ten trade union leaders in the same way that I could name senior government ministers.  Changes since then have not abolished the working class, but fragmented it, disempowered it and rendered it invisible as a class to the point that some middle-class people, who clearly lead very sheltered lives, now speak of a classless society, or a post-class society, or of us ‘all being middle-class’ now.

The changes, described in Owen’s book, include, the dismantling of much of manufacturing industry, the attack, begun by Margaret Thatcher, on trade union power, and the deliberate policy of the Thatcher government, through the selling off of social housing, to encourage as many working class people as possible to begin to think of themselves as middle-class home owners, or at least to drive a wedge between them, and those that remained in social housing.  The Labour Party, a party originally established with the precise purpose of ensuring that working class people were politically represented, was to carry on with this programme.  Under New Labour, as Owen notes, the idea of emancipating the working class people morphed from improving conditions for the class as a whole, to helping individual working class people to become middle-class.  The emphasis shifted from ‘equality’ to ‘equality of opportunity’.  ‘The new Britain is a meritocracy’, Tony Blair said when he came to power, though the term ‘was not originally meant to describe a desirable society…[but] was meant to raise the alarm at what Britain could become’ (Chavs, p 96).

Not all working class people can become middle class.  ‘If everyone became middle class, who would man the supermarket checkouts, empty the bins and answer the phones in call-in centres?’ (Chavs, p 250).   And not everyone has the same aptitudes.  But the shift of emphasis from improving the condition of a whole class, to helping people with the necessary abilities to leave that class and join the middle class, means that those who are left behind can be blamed for their own problems, and the poorest among them can be described in terms which, if applied to ethnic minorities rather than social classes, could have come straight from some 1930s Nazi tract:

‘…that sub (human) class that now exists in the murkiest, darkest corners of this country…good-for-nothing scroungers who have no morals, no compassion, no sense of responsibility and are incapable of feeling love or guilt’ (Carole Malone, News of the World, cited in Chavs, p 22)

One of the interesting points raised by Owen, and one which very much chimes with my own experience, is that denigration of working class people isn’t confined to the right-wing of British politics, but can also be found among liberal and even left-wing people.  I read an article in the Guardian a few years ago, reporting on a poll which found that the middle class was now more ‘left-wing’ than the working class.  And in the comment thread I came across the following, offered, as far as I could tell, without conscious irony:

… [The working class] consistently vote against their own interests. I have always imagined that the reason is that they think they are “middle-class” as was my own family’s delusion. However, I suspect that the real reason is that they are just hate-filled ignorant scum and we middle-class people should just say fuck them.

Hate-filled, ignorant scum.  ‘One of the ways people have made their snobbery socially acceptable…’ says Johann Hari (cited in Chavs, p 116) ‘[is] by acting as though they are defending immigrants from the “ignorant” white working class’.  Indeed some commentators quite specifically contrast hard-working immigrants with lazy good-for-nothing British workers.  Writing in the Times in 1994, Janet Daley (cited in Chavs, p 118-9) characterised British working-class people as a ‘self-loathing, self-destructive tranche of the population’ and contrasted them with the ‘religion, cultural dignity and… sense of family’ brought by people from ethnic minorities, who were only held back by the ‘mindless hatred of the indigenous working classes, who loathe them precisely for their cultural integrity…  I fear long after Britain has become a successful multi-racial society, it will be plagued by this diminishing…detritus of the Industrial Revolution’.

*   *   *

I heard a lot of that kind of talk from Remainers in the aftermath of Brexit.  But it seems to me that describing working class British people as ‘hate-filled ignorant scum’ and contrasting them unfavourably with immigrant workers was never exactly calculated to endear them to the European project.

*References are to the new 2016 edition of this book, published by Verso

The Party is Over

Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses (Juvenal, c100 CE: Satire 10.77-81)

A public that pays more attention to reality TV than its status as free citizens cannot withstand an unremitting encroachment on its liberties by calculating, unscrupulous and power-hungry leaders (Mike Lofgren, The Party is Over, 2012 CE)

The party is over

I haven’t even finished reading this book yet, and I may well have more to say about it later.  It is packed with sharp, pithily expressed and extremely scary observations about the break-down of the American political system and its corruption by corporate money.  A Republican who worked as a staffer in Congress for nearly 30 years, Lofgren is pretty scathing about the Democrats, but his most bitter attacks (at least so far) are directed against his own party which he describes as becoming less and less like a political party and more like ‘an apocalyptic cult’.

What he really exposes is a kind of doublespeak in which strident claims to be defending something – the constitution, liberty, democracy, the national interest- are used to conceal attacks on that same object.  ‘Let us now dispose,’ Lofgren writes, for instance, ‘ of the quaint notion that the present-day Republican Party is conservative.’   He defines the GOP, as it now exists, as a ‘radical right-wing party’, which doesn’t really conserve and protect anything, for all that it invokes the memory of a romanticised past, but seeks to completely transform society in the interests of the very wealthy* using whatever means possible and with a kind of Leninist ruthlessness.

The American political system works in a very different way from the British one, but there is much here that is familiar to a British reader all the same.  For instance:

The GOP reflexively scorns so-called elites (by which it means educated, critical thinkers) to mask the way it is utterly beholden to the true American elite.

I am particularly struck by Lofgren’s observation that the current Republican Party deliberately seeks to undermine the credibility of government itself:

Should Republicans succeed in preventing the Senate from doing its job, it would further lower Congress’s favorability rating among the American people. In such a scenario the party that presents itself as programmatically against government – i.e., the Republican Party – will come out the relative winner.

Undermining Americans’ belief in their own institutions of self-government remains a prime GOP electoral strategy.

A UK parallel is the relentless attack on the quality of public services, which is always ostensibly in the name of making them better, but which in fact reduces the standing of the services themselves.   But we also have a culture of cynicism about politicians and government in general, and I’ve long thought that (for instance) leftish comedians should be more aware of whose interests such routine and unfocused cynicism actually serves.

*Interesting fact: according to Lofgren under Eisenhower’s Republican presidency in the 50s, the top rate of income tax in the US was 91%.  Even the new leadership of the British Labour Party, characterised by many as unelectably left-wing, only proposes a top rate of 50%.

The violent faith

The grail legend has always had certain hold on my imagination since I encountered it as a child, and I’ve often thought about using it in some way in a story.  Partly for that reason, and partly because I’m perennially fascinated by the way that stories evolve over time, I recently read a translation of the original grail romance by Chretien de Troyes and then an interesting book* by Richard Barber which looks at how the story has changed over the centuries.   It was a bit of an eye-opener.

One point that Barber makes is that the original grail stories were written for a particular audience. These tales of knightly valour were written for real-life knights and, like so many books still do, served the purpose, among others, of flattering their readers.  For instance, looking at the original de Troyes story, and at the extracts of other medieval versions cited by Barber, I was struck by the amount of bling involved. You are constantly being told about the beautiful and costly possessions of the knights and ladies in the story, and being reminded that such things are their due as members of the gentry.

More chillingly, in one early thirteenth century version of the story (The High Book of the Grail), we are reminded of the business of those real life knights:

…the Good Knight went out to scour the land where the New Law [i.e. Christianity] was being neglected. He killed all those who would not believe in it, and the country of was ruled and protected by him, and the Law of Our Lord exalted by his strength and valour. (Barber, p 51)

The High Book was dedicated to Jean de Nesle, a leading figure both in the brutal Fourth Crusade against Constantinople, and in the Albigensian Crusade against the Cathars that followed . I happen to have also read a book** recently about the latter.  Ordered by Pope Innocent III, it involved (among other things) the massacre in 1209 of the entire 20,000 population of the town of Beziers.

* * *

All this came back to me when, reading the commentary around David Bowie’s death, I was reminded that there had been some controversy about Bowie’s ‘blasphemous’ use of Christian imagery in his video for ‘The Next Day’.  And I was particularly struck by a comment of the former Archbishop of Canterbury, Lord Carey:  ‘I doubt that Bowie would have the courage to use Islamic imagery. I very much doubt it’.

What a strange and revealing remark.  People like Bowie wouldn’t mock Christianity, he is really saying, if they thought they might be killed for it.  And Carey should know!  His own Anglican church is the largest denomination in the English-speaking world, after all, not as the result of kindly Episcopalians gently persuading Catholics and others of the error of their ways, but through the use of violence and terror.  Read Hilary Mantel’s Cromwell novels for a description of a process which included, among other things, monks who refused to swear allegiance to Henry VIII as head of the English church being publicly castrated and disembowelled.

* * *

Yes, and in the same way, the reason that there are no Cathars today in the South of France is not that the Roman Catholic church engaged in rational argument with that version of the Christian faith, treating its beliefs with respect, and showing the kind of sensitivity to the feelings of its adherents that Bowie was told off for failing to exercise. No. Cathars were hunted down, tortured to make them inform on one another, and burnt alive until their entire faith was completely exterminated.  In one case, the Catholic authorities learned that an elderly woman had asked for the Cathar equivalent of the Last Rites. She was taken from her death bed and thrown onto a fire.

The versions of Christianity that we know today are actually only a small subset of the ones that have existed in the past, and the Cathars are only one example of the alternatives that were annihilated by the violence of their more ruthless or more powerful rivals. It’s interesting to consider what kind of effect this Darwinian process has had on the content of Christian belief itself.  For a religion, too, is a story written for the benefit of an audience, and this religion, in the form we know it —the form that now asks for its feelings to be respected—was written for generations by or for those who regarded killing and torture as legimate ways of treating those who disagreed with them.  Lord Carey’s strange comment suggests to me that he and his church have a long way to go before they fully recognise the implications of that.  It reminded me of a husband telling his wife she ought to be more grateful that he doesn’t beat her any more.

*Richard Barber, The Holy Grail: the history of a legend.  Penguin.
**Stephen O’Shea, The Perfect Heresy: the life and death of the Cathars.  Profile Books.

I, clawfoot

Here is a guest post I did for Sarah Chorn, who edits a column on SF signal called Special Needs in Strange Worlds.   I am very grateful to Sarah for giving me an opportunity to discuss the people with disabilities who appear in Dark Eden and Mother of Eden (the batfaces, clawfeet and slowheads), as I don’t think anyone has specifically asked me about them before and they are absolutely central to the world of Eden.

In this post, I also reveal that I am in a way the original for the so-called clawfeet.  Which, now I think about it, may partly explain my decision to make the clawfooted Jeff Redlantern very wise and absolutely irresistible to women.

Originality and origins

I was fairly irritated by this comment, alleging that I had “plagiarised” Dark Eden from an out-0f-print hundred-year-old Polish science fiction novel, never published in English, and which I’ve never heard of.   If we’re going to bandy about unpleasant words like plagiarism, the word slander comes to mind!

A while back, someone sent me a slightly hostile tweet alleging that I’d lifted one of the main ideas in The Holy Machine, a female robot messiah, from the Fritz Lang film Metropolis.   Now in this case I have seen the film, back in the 1980s when it came out with a new rock soundtrack.  The only scenes I can now remember were the huge factory, and the city with its vast multi-level streams of traffic, but it’s entirely possible all the same that the idea of a robot messiah lodged somewhere in my brain and was one of the sources of Holy Machine.

But why the hostility?  It seems to be based on a somewhat off-beam notion of how writers operate and what constitutes originality.  We do not operate in a vacuum.  As we cast about for ideas we draw on what is already in our brains.  What alternative do we have?   And what is in our brains includes countless images and ideas we have read about, or seen in movies, or been told about by friends.  There is a scene in Dark Eden, for instance, where John Redlantern puts his hand on a long-lost ring.  Would I have come up with this, if I hadn’t read The Hobbit?   I very much doubt it.

But its more complicated than just Writer A has an idea, Writer B steals/borrows/uses it.  A conscious influence on Holy Machine, as I’ve acknowledged before, was the movie the Stepford Wives (based on the novel by Ira Levin) which I saw in the seventies, in which a bunch of men preferred subservient robot simulacra to real women.  That undoubtedly influenced the beginning of the Holy Machine, where the isolated and socially phobic George Simling chooses a robot sex toy, rather than take the (to him terrifying) risk of actually relating to another human being.   But the Stepford wives is itself part of a tradition of stories going back to the Greek legend of Pygmalion (just as Tolkein’s accursed ring is an idea that goes back to the Norse story of Andvari’s ring), and this story surely persists because it, in its essentials, it really happens, over and over again, in the real world: men trying to shape women into their image of women should be.   In her book about her abduction and long captivity, for instance, Natascha Kampusch refers to the Pygmalion legend as a way of explaining what her captor was trying to do to her, but hers was just an extreme example of something that occurs all the time.

Sometimes ideas recur, in other words, not because one writer borrows from another, but because both writers are attempting to represent the same aspect of reality, much as certain shapes and structures recur independently in nature as a result of parallel evolution.   Often it is impossible to know whether this is what has happened, or whether there has been a more direct influence.   I genuinely don’t know, for instance, whether or not Metropolis had any direct influence on The Holy Machine.

*   *   *

When writing about Dark Eden, I’ve acknowledged several influences that I’m conscious of: in particular Golding’s Lord of the Flies, Hoban’s Riddley Walker, and Aldiss’ Helliconia series, as well as a couple of things from Tolkein, and the green-on-black screen of an old Amstrad computer.  When it comes to Mother of Eden, I’m less sure, but here are a few.

There is a scene during Starlight’s second crossing of Worldpool, which I am fairly sure was inspired by a moment in Jane Campion’s beautiful film, The Piano.

Certainly 3,096 Days by Natascha Kampusch (already mentioned) was an influence.  Starlight is never a captive in quite the literal sense that Kampusch was, but she finds herself a captive nevertheless.  I was really extraordinarily moved by Kampusch’s indomitable spirit, and I think this influenced my thinking about Starlight’s character, her determination to resist.

I’ve been very into Shakespeare’s history plays over the last couple of years, and have also read several books about Tudor and medieval history (these include Hilary Mantel’s Thomas Cromwell books, though in their case, I read them after completing the book, encouraged by the recent TV series).  I know my exposure to these various sources influenced my thinking about power, dealing as they did with a period when to fall from power, or to challenge power unsuccessfully, was typically to invite your own death.   (This is still the case, of course, in many countries today.  North Korea and our great ally, Saudi Arabia, spring to mind.)

Tolkein was an influence too, and this time a conscious one, but in a funny inverted kind of way.  Dark Eden had brought a powerful ring – Gela’s ring – into the picture, and in Mother of Eden that ring is much more prominent (Gela’s Ring was my original title for the book).  But I’m not writing fantasy.   There are two hostile camps in Mother of Eden, but neither is wholly good or wholly evil, and my ring has no inherent power, hard though this is to hold onto when you are actually in its presence:

But what was it? [Starlight asks herself at one point] What was I looking at? Didn’t you have to know what a thing was before you could really see it?…. I knew lots of stories about it like everyone did – it had been made on Earth, it had been found by John Redlantern, it had been snatched by Firehand from out of that pot of boiling water – but they were just stories, stories that had been wrapped round it, not the ring itself. So now I tried and tried, until my head ached, to push them from my mind and look at the ring itself.

It was just a thing. I could see that. Just a small small thing. When it was first made on Earth, no one could have known where it would go or what it would come to mean. But it was impossible to hold onto that, impossible to hold away the stories that had made this little object seem so big. In fact, so big had it become that it kept pulling more stories around itself, and growing bigger still…