Life today

I have just been listening to the afternoon play on Radio 4, not only because it was a dramatization of part of Muriel Sparks’ life, but also because I caught on a trailer for it, that it was about disinformation during the Second World War in Britain. 

     With a bump I was taken back to a library book I took out when I was in school and the name Sefton Delmer came back to me.  It took a bit of Google searching, but the title of the book that I read (I actually recognized the cover!) was called Black Boomerang, written by Sefton Delmer the head of our black propaganda efforts during the war and published in 1962, so I was remembering a book I read over half a century ago.

     Although most of the details of the book are long lost to my retrieval system, the name of the author is something that has always stayed with me, together with thoughts about the morally ambiguous basis for black propaganda.  I have used this concept as something that linked usefully in to my work in school with media, advertising and indeed literature in the ways that all of them attempt to persuade and convince.

     The Radio 4 play was a fairly insubstantial piece of fluff, but it did raise a number of interesting ethical dilemmas and, although the ending of the play was flip and facile (even if it was true, which given the subject matter of the play etc etc) but has provoked me into writing.

     It has been famously reported that when Sir Strafford Cripps found out what Sefton Delmer was doing, he wrote to Anthony Eden the Foreign Secretary and said, “If this is the sort of thing that is needed to win the war, why, I’d rather lose it.”  Perhaps, even at the time, this attitude was considered a trifle precious, after all we were fighting ‘total war’ that seemed to justify anything – and against a foe whose moral worth was demonstrably low.  But, and there is always a but, if you lose your own moral standards in fighting someone with low moral standards how are you better than they are?  The ends justify the means is Machiavellian, literally!

     And the times in which we are living make you wonder if the pioneering work of Sefton Delmer in the black arts of information manipulation are not now the normal way that all governments behave – but openly and with a complete lack of shame and a totally confusing acceptance of fabricated lies are truth and reality.

     The present governmental attitudes towards information about the Coronavirus (or ‘Caronavirus’ to the idiot in the White House) have much more to do with presentation than reality.  We expect totalitarian regimes to hush up, massage, lie, obfuscate, whitewash and bluster – but these techniques are all too familiar to the degraded governments of the part-time British Prime Minister and the full-time American golfer.

     Given the state of truthfulness in the political world today, perhaps I should re-read Black Boomerang to remind myself of the techniques that are being used on me today.  If you are interested, then all of Seton Delmer’s books are available on-line at psywar.org.

In spite of the fact that I sometimes use the weekend to justify laziness in getting up, today I got up for my early morning swim and was rewarded with a lane of my own (eventually) and a well-deserved cup of tea outside (in my coat, obviously) afterwards.

My post-swim cup of tea and notebook use produced further ideas for the recalcitrant poem, or maybe another completely different one.  I will try and mash the concepts together and find out what happens, though I think that I have a title.

     For the first time in my life I actually thought about the phrase, “Now then!”  And wondered why its contradictory nature had never struck me before.  It can be used in different circumstances and could mean anything from “Steady the Buffs!” to “That’s enough of that!” to “Just wait until you hear what I have got to tell you!” to “Don’t be nasty” and so on.

     I liked it, when I thought about it, for the way in which it links the present to the past in an easy colloquial phrase.  And ambiguity is always stimulating! If you are interested in further discussion then I suggest you look at the site https://english.stackexchange.com/questions/24882/the-origin-of-the-phrase-now-then

I will, however use the phrase in my own way!

My zest for lino cutting did not win out against tiredness and bed last night, but I might be open to doing a bit of artistic slashing this evening. 

     The major problem for me with this new/old hobby is that I never can find enough free surfaces to allow the prints to dry before I make other cuts and prints. 

     I think that I will have to ‘prepare’ backgrounds so that I have a ready supply of treated pages to use at leisure. 

     Well, it’s worth a try and, as I always say about my attempts at things artistic, “What have I got to lose but my self-respect”!

Fight the good fight!

In my own language, I am an articulate, responsive and witty speaker.  In Spanish I am enthusiastic early Tarzan and in Catalan epsilon semi-moron.  As someone who loves language and the speaking thereof, my inability in any other tongue than mine own is baffling.

     Of course, you could point to the fact that, apart from the lessons, I do virtually no other work.  My expectation that language will work by osmosis, though patently not working in my case, is still firmly a methodology to which I adhere with monomaniac fixation.  Well, it beats methodical working and revision!

     Even though I am something of a past master in blagging my way through Spanish, I have even less basic linguistic information with which to work in Catalan.  And we are now getting close to a crunch time as, in the middle of next month (which, horror of horrors, starts tomorrow) I have an examination.

     It makes no difference how many times our present teacher assures us in his class than the examination, nay, not examination, more of a test, really, is simple beyond belief – I still know that with my level of ability ANY bloody casual (let alone searching) examination of my knowledge will lead to hot-faced humiliation.

     At this point, the more incisive reader might wonder about my typing about these concerns, rather than actually doing something about them.  If so, you haven’t read the previous short paragraphs where I freely admit my lack of effort in acquiring or attempting to acquire another language.

     The one positive point about this next ‘test’ seems to be that it is vocabulary heavy with an unnatural concentration on the direction and existence of accents on individual words and, in any choice between the two, ‘vocab’ is an easier option than ‘grammar’.  So, you never know, if I play to my strengths of being able to cram discrete points of information for the duration of an exam I might even be able to scrape through.

     Though, I do admit that scraping-through in the language of the country in which I actually live is not a very inspiring (or indeed worthwhile) goal, but it is what I am working towards. 

     And you never know, now that the date of the examination has been set, it might (just might) encourage me to make a start on the tedium of vocab learning this very weekend.  There is, after all, nothing quite so self-satisfying in doing a minimal amount of work sufficient to engender the feeling of complacency in knuckling-down to something worthwhile.  Obviously.

It’s all about the far end lane.  Of the swimming pool I mean.  Of those hardy folk (or nutters depending on your point of view) who turn up at 7.00 am when the pool opens, the one thing motivating their early appearance is the claiming of an empty lane for your lonely furrow.

     There are five lanes in our pool, and they fill up quickly.  Lane one is usually taken by a sedate looking retired lady who makes stately progress up and down the pool.  Lane three or sometimes four is taken up by two ‘youngsters’ whom I call the twins who are dedicated and athletic and look as though they are training for a triathlon.  Lane four is taken up by a recent arrival to the family of a snorkeler who rushes into the pool to try and get the Crown Jewel of lanes: lane five.

     Lane five is the lane to get.  Why?  Because it is slightly obstructed by the metal access ladders.  The way the ladders slightly jut out into the pool space means that two swimmers in a lane is somewhat awkward.  Therefore people go to double-up in the other lanes before trying the end lanes.  Lane one is for the slower swimmers and the periodic exercisers; they rarely go to lane five.  So, if you bag lane five early enough you are almost guaranteed to have it to yourself for the whole duration of your swim.

     The problem with this is, no matter how early I get to the pool, even if it is before the pool has officially opened, one man, the same man, always seems to get there before me.  So I am reduced to going to one of the other three lanes (remember lane one is given over to slower others) and hoping that it remains uncluttered with extraneous swimmers for my metric mile.

     If you are an early morning swimmer then the intensity of possession in the highly charged first hour of opening is something that will not need to be explained to you; if you have not experienced the rush of claiming a lane and swimming in a savagely elegant style to keep it to yourself, then I would suggest you think about the last time you went on a train or a bus and looked for a double seat for yourself and the looks and hopes that kept people away from you as a guide to how we feel.

     This morning, for example, I was, yet again beaten to the fifth lane by my friend, but I managed to claim the fourth lane and keep it to myself until almost the end of my swim when I had to share it with another swimmer for a few lengths until my friend left the fifth lane and indicated to the other person in my lane that he could take over the vacated fifth lane.  Now that is courtesy and civility of a high order!

 

I am working on a poem at the moment which grew out of notes that I made in my pocket notebook: two days’ work; five unsatisfactory lines, no, four and a bit lines now I look at it.  I mapped out the ideas behind what I want to write in annotations of the transcription of my notes, but the working-up is taking longer than I expected

Some poems write themselves, in so far as the structure is concerned, the skeleton is roughly assembled and then the hard slog of fleshing-out takes up the real time.  In the present instance, I only have fragments of bone, meaning that my construction of meaning in my writing is more palaeontology than poetry, but it is getting there, or more accurately it will get somewhere sometime.  And there is no title yet, either.  Working on it, working on it.

The daily crash-bang-wallop of reformation in the house next door continues unabated and is now producing a steady stream of rubble which is filling bags which are taking up parking spaces on the road.  One of the (industrial sized) rubbish bags has been in situ for over two weeks.  This is not satisfactory and ‘steps will be taken’.  I have already asked about them and the workmen have shifted the blame on to the company that should have picked them up.  As I recall, there are usually by-laws about leaving household rubble on the street and on Monday I will make a trip to the city hall after my Catalan class and find out the legal situation.  I will also take photographs (they like photos) to illustrate their wicked deeds.  Our city hall is generally helpful, and I look forward to being armed with the Regulations of the Righteous to smite the rubble makers hip and thigh – if necessary with the jaw-bone of an ass.  And I wonder how many people nowadays will pick up that reference!

So, lots to do this weekend: planning, scheming, writing and lino-cutting – never a dull moment.

The noise!

 

 

I am beginning to suspect that the lengthy and noisy ‘reformation’ of the house next door is being done solely to drive us to distraction and out!

     Houses here have tile floors throughout; the bathrooms are tiled and so are the stairs – this means that if a new occupier wants to renovate there is a quantity of loud banging to replace the coverings.  As we live in a conjoined house, and as those houses have a framework of concrete, all thwacks against one part of the structure is seamlessly transmitted to the adjoining houses giving a reproduction of the attacks that cannot be bettered by a Bose loudspeaker.  We have been living through a positive battlefield of noise for months!

     Today, apart from a few desultory hammer knocks almost for ‘old time’s sake’ the noise is now emanating from the front approach to the house where a walkway is being extended to cover the whole of the front ‘garden’.  Nothing really grows in our front gardens because of the overshadowing pine trees where lack of sunshine and a covering of pine needles ensures that the ground is vegetation free – apart from the needles.  The laying of footpath slabs is not in itself noisy, but the radio turned up full to accompany the labours of the workmen is.  I have retreated to the opposite side of the house and am typing in relative tranquillity.

     I am very well aware that typing such stuff is an open invitation to the Gods of Perversity to fill the silence with the hammering-by-proxy that has become so much an irritating part of our lives.  And, even as I type the low timpani roll of hammer thuds rings out from next door!

     There is always something to keep me grumbling!

The first responses to the pre-publication copies of The eloquence of broken things have started to trickle in and they are positive and encouraging.  What I need to do is think more about marketing and publicity, which I am sure can be just as intellectually satisfying when done properly as producing the writing in the first place!  But I am constantly beset by the signal disadvantages of writing in a foreign language in Catalonia and writing poetry too!  Niche in a niche!

     I will have to reach out more to the cultured ex-pats who might actually read what I’ve written!

Put it down to experience!

An underwhelming evening at the opera

I am constantly aware of how niche going to the opera is, especially sitting as I do in one of the more expensive seats in the Liceu, surrounded by the good and the great of the cultural scene in Barcelona.  I do my bit for egalitarianism by wearing sandals and jeans, but it doesn’t alter the fact that I am (generally speaking) surrounded by the white, the elderly and the middle class.  Count the number of balding men exiting a performance at the opera and you will begin to fear for the survival of this art form after another generation or two!

            It doesn’t have to be like this of course.  In some parts of the world going to the opera is a normal and relatively inexpensive experience.  But there is no way of producing good opera cheaply.  Think about it: there is an opera house, seats, a stage, sets, lighting, soloists, costumes, a chorus, technicians, an orchestra and so on and so on.  Opera is an expensive business and it is only ‘affordable’ with subsidy.  That subsidy is either via ticket prices or via public finance.  I am well aware that, expensive as my ticket might be, it would be a damn sight more expensive without government help!

            It all comes down to whether you think that opera as an art form is worth subsidising to make it more available to a greater range of punters.  As far as I am concerned, opera at its best successfully combines so many different art forms that the resultant melange is exhilarating.

            And sometimes it isn’t.

            And the performance of La Clemenza di Tito by Mozart in the Liceu last night was one of those underwhelming evenings that makes you question the expense.

            La Clemenza is an opera seria: a serious opera, historical and heavy with moral worth and interminable continuo.

            The legendary ‘mercy’ of the Emperor Titus was chosen as a subject matter to flatter Leopold II as part of the celebrations for his coronation as king of Bohemia.  Opera seria was the preserve of the nobility and played to their predilections, but it doesn’t necessarily play to ours.

            Even though the opera includes love, fidelity, betrayal, rebellion, arson, confusion and moral dilemma it is a fairly static piece with most of the real action being the inner turmoil of the individual characters expressed in recitative or decorated aria.

            At the end of the first act I understood why this opera had had a century and a half of obscurity before its modern rediscovery.

            The opening of the opera gave an opportunity for the Orquestra Simfònica conducted by Phillipe Auguin to show its ability in the playing of the overture and in this, as throughout the opera the playing was nuanced and authoritative.  While the orchestral playing was excellent the stage picture of the opening of the opera was less convincing.  The scenery was drab and literally clunky and the sombre, black uniformed figures of the praetorian guard formed a circle around a shrouded figure and did nothing else for minutes until, towards the end of the opening music they pushed the plinthed figure into an alcove up stage and allowed Roman architecture on wheels to form a frame for the opening numbers.

            Myrtò Papatanasiu as Vitellia had a good stage presence but I felt her voice sometimes lacked conviction.  She certainly rose to the occasion in her final aria, but I remained unconvinced.  Stéphanie d’Oustrac as Sesto moved around the stage well and had a dramatic presence, with a tendency to melodrama and a voice that was more than competent.  Annio, sung by Lidia Vinyes-Curtis, was always a lively presence and, although I found her voice a trifle too nasal for my liking, she played her part well.

            The eponymous role of Tito Vespasiano was taken by Paolo Fanale whose lightish tenor voice was pleasant within the middle range but became harsh at the top end of his register.  He lacked the commanding quality that would have made his presence on stage striking.

            For me, the stand-out voice of the evening was that of Anne-Catherine Gillet singing the role of Servilia, a voice that was thrillingly immediate.

            The chorus were their usual characterful selves, and it would have been good to have had more of their work enlivening this drawn-out entertainment.

            The end of the opera had a moment that I wished had informed more of the preceding couple of hours.  As the tediously magnanimous emperor walked upstage after forgiving everyone for everything, his praetorian guard suddenly turned on him and the last stage picture was of a suggestion of another rebellion.  This ‘false note’ runs counter to the thrust of the original intent of the piece but it did add a (tragically too late) indication of how the staging could have been more interesting.

            If this review seems unduly negative, then that’s how I feel.  There were good things in this piece, and some of the ensemble music was captivating – but recitative leaves me cold and I left the opera with a feeling of shaking the dust off my sandals and hoping that this is a production that will not see a revival over the next decade or so.

And I was ripped-off for the Indian meal that I had before the start of the performance.  But let it pass.  Let it pass.

The next opera is Lohengrin which I am ashamed to admit I have never seen in a full performance!

Back again!

 

Old habits die hard.  Or at least they have a way of rising zombie-like from time lost in laziness or indifference.

This writing is a case in point.  I am using, not my newish laptop bought after extensive trawling through reviews and at least one expensive mistake, but my old trusted MacBook Air.  Although I have abjured the buying of new Apple machines after the shameless pricing of the latest iteration of the Apple Watch, I am ever drawn to my MacBook Air.  It is the only piece of computer technology which, even after the decade (or ‘century’ in computer age years) of use that it has given, it still looks the business and its svelte metallic appearance still makes it a little object of desire. 

I understand (horror of horrors!) that the Apple logo does not light up on the latest versions of the machine – that surely is a travesty!  I speak as someone who bought an entire music system (there are three words that you don’t often see together nowadays) because it met two of my basic requirements: it had to have lots of flashing lights and the cassette eject system had to open in slow motion.  The user may not see the illuminated logo, but other people do and they either feel a fellowship with the user that they can see, or they know themselves cast into the other darkness of lost souls with dead logos.  It may not add to the operating system but the light from the logo paradoxically puts others in the shadow.

Little things are important.  And they are not ‘little’ either.  The last time that an Apple Dealer saw my MacBook Air when I was trying to update the system, he described it as ‘Vintage’, as all machines over five years old are described!  That lustrum is the age of a Secondary School generation as it progresses from Year 7 to Year 11, and I suppose that kids in Year 11 looking back to their younger selves in Year 7 would wholeheartedly agree that anything that they liked and admired when fresh-faced first formers (forgive my own regression to out-dated nomenclature there) playing ancient games on their outmoded mobile phones in those far-off times!

But the look and the feel of the MacBook Air from 2010 still looks good, still makes other machines look clunky and somehow stodgy.  So, in spite of the fact that my (expensive, compact and powerful) Dell is within a hand’s reach, I am typing on the Mac.

And typing a blog entry.  I have been very remiss over keeping up my blog and it has become very much an Occasional Feast for me instead of the Daily Duty that it was at one time.  My self-protestations that I will produce a piece of writing every day, have been empty, and each day without writing makes it easier to add a further day to the dilatory approach.  But today, today I feel inspired to put finger to key and get back into the habit.

Why, you might ask.  The sad reason is that I have left my mobile phone upstairs and I am too lazy to go up and get it.  My morning schedule includes going the quick crossword in the Guardian and I usually complete that on my phone.  I can do the crossword on my iPad, but I have allowed the battery to run down and I have had to put it on charge.  I could, of course, use the very computer that I am typing on now to do the crossword, but doing the crossword on the computer smacks of slight perversity – so, it was either sitting down sipping tea and trying to look demure; going up stairs to get the phone, or setting-to and writing.

Today I had a lie-in and didn’t go for my usual early morning swim, so the opportunity to write in my notebook after my swim had been taken away.  Yes, I know that I can write in my notebook at any time, but I do it after my swim, so I hope that you begin to see that ‘circumstances’ have conspired to get me writing another entry for my long ignored blog, because ‘historically’ most of the entries for my blog have been written on the machine that I am using now, my Mac.

So, from the dark days of wordlessness, I lurch towards the light of articulacy and prose.

As someone who find the style of ‘Tristram Shandy’ eminently natural in its predilection for digression, I do not find it at all surprising that I have taken the best part of a couple of typed pages to say, “I’m writing a blog entry.”  And I now feel that I can get on with what might be appreciated as actual subject matter.

Since Christmas, indeed since a little before Christmas, we have been beset by noise.  Now, Catalonia is not a quiet place (although, paradoxically it is only the lingering sounds of the tail end of Toni’s cough that echo through the house at the moment) but we have had the cacophonous horror of the house next door being completely renovated.  As far as we can appreciate, this involves hitting all wall, floor and ceiling surfaces an infinite number of times with hammers.  As we live in a group of five conjoined houses, structural sound in one is seamlessly transferred to the others – and even more so if you live next door.  As far as I can tell, the workmen must have hit every square inch of the surface and each of those blows we feel.

One Sunday (sic) the noise was so intense that I couldn’t hear the radio in our living room.  I complained, but if the work needs to be done, what can I reasonably expect?  This is what you get when the skeleton of our houses is concrete; hit one part of the frame and it is shared with all!

This evening, Opera, Mozart’s last, La Clemenza di Tito – and not one that I know particularly well, but I am open to being enthused by the production, and of course the music!

When I go to the opera I take the opportunity in the interval to go to the Café de l’Opera in the Ramblas and scribble a few notes about the production with a view to writing a review in the blog.  I have again been rather remiss here too and my notes have remained notes.  Today, however, I will assume that tomorrow I write and post the review!

Talking of writing.   The production of my latest book, The eloquence of broken things[1], has been beset by problems.  The pdf of the book was used for the print but, for reasons that have not been discovered, a double series of printing errors made their way to the finished books.  The printer has not been able to explain how a good pdf copy produced faulty final product.  A reprint was necessary and I am more than pleased with the results.  But.  In reading through and admiring my and the printer’s handiwork, I noticed a typo in one of the first poems!  This could not be put down to the faulty printing; this was a proof reading error.  By the time I noticed it, it was too late to change anything.

I decided to make the best of a bad job and therefore wrote an insert ‘celebrating’ and explaining the error in a poetic mea culpa, tucked inside the front cover – each copy individually initialled to make it more official!

The poem is included here as part of the lead up to the publication of the collection.

 

Erratum

p.14,  l.2,  w.6
for hr read her

Within a Turkish rug’s

expensive symmetry

is woven an intentional false note –

because perfection’s the preserve of god,

and not of stumbling, imperfect Man.

But, isn’t there an arrogance

in saying, “Yes, of course there’s that –

but all the rest . . . !”  As if

parading of a self-made fault

limits additional faux pas?

It’s Baldrick’s bullet[2]. 

Logic?  False!

Yet it’s a way of life we all adopt

because we live inelegant reality,

not textbook-sharp, black-outlined clarity.

Mistakes and errors?  That’s who we are!

Come with the territory.

Flaws are the marbling of life.

We have to say.

Because it’s inescapable.

I’d read and read again

the poem that contains the fault,

and yet not seen the missing ‘e’

until the final print was done

and it was then too late to change.

The sticking-plaster-sized

erratum slip is grudgingly applied

accepting and bewailing

my falling short.

But, what are vowels in the scheme of things?

Thngs tht cn b thghtlssly gnrd –

and still the consonantal frame

allows a certain fluency. 

If there had only been a gap

the reader could have,

would have, filled it in

without a thought.

But these are cavils

trying hard to justify

imperfect sight.

I should regard the ‘humbling by slip’         

as something more akin to public sacrifice:

(expiation, celebration,

for inexact humanity)

than hoping that,

in spite of all the odds,

the misprint, all alone,

is by itslf.

---

[1] Rees, SM. (2020) The eloquence of broken things, Barcelona, Praetorius Books.

[2] Private S. Baldrick, Captain Blackadder’s idiot batman is caught inscribing his name on a bullet when in the trenches in 1917, his explanation is, “I thought if I owned the bullet with my name on it, I’d never get hit by it.”  Blackadder Goes Forth Series 4, Episode 1.  First broadcast 28^th September 1989, 9.30 pm on BBC1, written by Richard Curtis and Ben Elton.