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Woolf reads Woolf: can criticism hamper creativity?

Interesting connections with St Ives and Talland House….

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Interesting read this!

LizzySiddal's avatarLizzy's Literary Life (Volume One)

Only 7 days to go to the 2012 German (language) Literature Month. Are you joining us? If so, would you please sign-up in comments below. The reason I ask this is so that I can add your blog – should you have one – to my google reader. That way I ensure that I don’t miss any of your posts while I compile the author index during the month. Remember how phenomenal last year’s index was? I suspect this year’s list will be just as breathtaking.

My German-lit TBR is certainly taking my breathe away at the moment ….

20121024-202220.jpg

I’d feel a bit easier if I’d made a final decision about what I will actually read but I want to keep it whimsical and surprise myself! I will stick to the genre guidelines of the first 3 weeks and I have promised myself that I will read something in…

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Literature Poetry Uncategorized

The Home is the Word Itself;Rose Ausländer 1901-1988

 

 

 

Wort an Wort

 

Wir wohnen

Wort an Wort

 

Sag mir

dein liebstes

Freund

 

meines heißt

DU

Kirsten Krick-Aigner  of the Jewish Women’s Archive  writes of Rose Ausländer, “a German-speaking Jewish poet from Czernowitz/Bukovina who spent much of her life in exile in the United States and Germany, wrote that her true home was the word itself.”

There is a very useful biography at http://jwa.org/encyclopedia/article/auslander-rose. Her poems are short, aphoristic and beautiful. There is some more about her life at http://www.tierradenadie.de/archivo6/rosebiographie.htm and also in German at http://www.ursulahomann.de/RoseAuslaender/ and in considerable detail at http://www.literaturepochen.at/exil/

 

Das Schönste

Ich flüchte

in dein Zauberzelt

Liebe

Im atmenden Wald

wo Grasspitzen

sich verneigen

weil

es nichts Schöneres gibt

Which might be very freely translated thus:-

The very best thing

I seek the protection of your magic tent my love,

Beneath the whispering forest,

Where the springy grass bows under us;

Nothing is more beautiful……

Regenwörter

Regenwörter

überfluten mich

Von Tropfen aufgesogen

in die Wolken geschwemmt

ich regne

in den offenen

Scharlachmund

des Mohns

Rain-words

Are overwhelming me

So that absorbed into droplets

into the floating clouds

I rain

into the open mouth of the scarlet poppy                                                            

It is worth pausing at this point to view some old postcards of the elegant, fascinating city of Czernowitz, Rose’s home city and also that of the celebrated poet Paul Celan. These are on You Tube at http://www.youtube.com/watch?v=AkR7JGthjwk&list=HL1352998582&feature=mh_lolz

Czernowitz before the Second World War

Peaceful hill town
encircled by beech woods

Willows along the Pruth
rafts and swimmers

Maytime profusion of lilac

About the lanterns
May bugs dance
their death

Four languages
Speak to each other
enrich the air

The town
breathed happily
till bombs fell

Rose Ausländer translated by Vincent Homolka

Czernowitz vor dem Zweiten Weltkrieg

Friedliche Hügelstadt
von Buchenwäldern umschlossen

Weiden entlang dem Pruth
Flösse und Schwimmer

Maifliederfülle

um die Lanterner
tanzen Maikäfer
ihren Tod

Vier Sprachen
verständigen sich
verwöhnen die Luft

Bis Bomben fielen
atmete glücklich
die Stadt

This translation comes from a Poetry in Translation website where there are further engaging comments on Rose Ausländer at http://poetryintranslation.org/category/german/

Manchmal spricht ein Baum …

Manchmal spricht ein Baum

durch das Fenster mir Mut zu

Manchmal leuchtet ein Buch

als Stern auf meinem Himmel

manchmal ein Mensch,

den ich nicht kenne,

der meine Worte erkennt.

Sometimes a tree speaks…….

Sometimes a tree speaks

to me through the window courage which

Sometimes lights a book

like a star in my sky, and

Sometimes a person

whom I do not know,

recognises my words.

Loneliness I

My pores suck it up
until it’s evenly distributed
throughout my body

Days ceaselessly tattoo
lines upon my cheeks
signs none but the sibyl
can interpret

My friends are sewn up
their breath inaccessible
upon their lips there hangs a colourless flag:
a frosty smile

When I turn around
I see footprints
trailing away in the sand

The windmill on the horizon
moves its sails in time
to a lullaby
It’s time
to put an end to solitude
with bed and sleep

Rose Ausländer    (translation by Vincent Homolka)

Einsamkeit I

Die Poren saugen sie auf
bis sie im ganzen Körper
gleichmäßig verteilt ist

Tage tätowieren
unablässig Linien
in die Wange
Zeichen die nur die Sibylle
deuten kann

Die Freunde sind zugenäht
man kommt nicht heran an ihren Atem
auf ihren Lippen hängt eine farblose Fahne:
frostiges Lächeln

Wenn man sich umwendet
sieht man Fußspuren die
sich verlaufen im Sand

Die Mühle am Horizont
bewegt die Arme nach dem Pulsschlag eines
Wiegenlieds
Es ist Zeit
dem Alleinsein ein Ende zu bereiten
und schlafen zu gehn

Czernowitz is situated in the area known as Bukovnia and its complex history is quite remarkable; once part of Poland-Lithuania, as Galicia, Moldavia it has an extremely varied population. For example, at http://en.wikipedia.org/wiki/Bukovina we read that in the late Eighteenth Century,” The Austrian Empire occupied Bukovina in October 1774. Following the first partition of Poland in 1772, the Austrians claimed that they needed it for a road between Galicia and Transylvania. Bukovina was formally annexed in January 1775. On 2 July 1776, at Palamutka, Austrians and Ottomans signed a border convention, Austrians giving back 59 of the previously occupied villages, and remaining with 278 villages.”

Tensions over identity, unsurprisingly, following the difficult history remain:-

“The fact that Romanians and Moldovans were presented as separate categories in the census results, has been criticized by the Romanian Community of Ukraine – Interregional Union, which complains that this old Soviet-era practice, results in the Romanian population being undercounted, as being divided between Romanians and Moldovans.”

 

Mit fremden Augen

Mit fremden Augen

kommt der Morgen

mit den vertrauten Augen

der Fremde

kommt der Mittag

mächtig sein Licht

die Fremde mächtig

morgens mittags

und abends

melden sich Stimmen

mit dunklem Klang

der Fremde

altbekanntem Klang

Der Mond lodert rot

auf den Lippen

des Fiebernden

Hörst nachts

das Echo

wenn deine Stimme schläft

erkennst den Körper

die schwarze Wange

aus blauen Poren

fremd vertraut

 

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Art Exhibition Reviews Uncategorized

Auras and Auroras; The work of Matti Braun

The eye-catching, penetrating splendour of Matti Braun’s lyrical paintings and creations are as unusual asthey are inspiring. Braun was born in 1968, trained at the State Academy of Fine Arts in Berlin and also in Frankfurt, he works in Cologne and has had several major exhibitions in Germany, France and Italy. His work can be seen currently at the Arnolfini Gallery in Bristol until the 6th Jan 2013. Further details may be found here at http://www.madeingermanyzwei.de/Kuenstler/Matti-Braun This current exhibition consists of an installation constructed from sections through a Douglas Fir tree obtained from Westonbirt Arboretum. These are surrounded by a lake of water creating a placid, contemplative effect. Filling the tank in which they are enclosed, gave the Bristol fire brigade a useful opportunity for them to practise and develop their skills. Further information can be read on http://www.arnolfini.org.uk/whatson/exhibitions/details/1409 and photographs of the operation at http://www.bbc.co.uk/news/uk-england-bristol-19862898 and http://www.bbc.co.uk/news/uk-england-bristol-19747232  The work was apparently inspired by a film, later abandoned, by the renowned Bengali filmmaker Satyajit Ray. It was entitled ‘The Alien’.

Braun’s oeuvre includes photographs, installations, sculptures as well as paintings. Some of the latter were displayed in a large exhibition in Rome in 2011 and can be discerned in a You Tube movie at http://www.youtube.com/watch?v=cTmTE-SHD60 and there is a book by Friedemann Malsch et al available on Amazon at http://www.amazon.co.uk/Matti-Braun-Kola-Friedemann-Malsch/dp/3865605966/ref=sr_1_2?s=books&ie=UTF8&qid=1351434791&sr=1-2

In some respects Braun’s compositions are a little reminiscent of the rainbow effects in the colour field paintings of Morris Louis- which the critic Clement Greenberg has termed post-painterly abstraction. There is also the possible influence of Mark Rothko. His paintings in acrylic, silk and cold-rolled steel bring to mind the evocative inks of a Rorschach test. Certainly, they invite the viewer’s personal response or interpretation.

Braun is gifted and prolific. His thought provoking and exciting conceptions will repay further attention in forthcoming years. On a personal basis they remind me of a garden hedge clustered in Mesembryanthemums in full sunlight. Set against a dark background they might suggest the delicate fronds of various luminescent underwater sea coral.

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Book Reviews

On the Eve: the Jews of Europe before the Second World War by Bernard Wasserstein

An old question, forever new: what does it mean to be Jewish? A religion? Judaism is, but few Jews practise it. An ethnic group? Unlikely, since ethnicity is a cultural concept and Jews have no common culture and no common language.

by Bernard Wasserstein

But why ask the question at all? It would be just as hard to define the French or the Germans. Jews themselves cannot answer it adequately. Kafka mused: “What have I in common with Jews?” And he answered ­indirectly by identifying himself with ­persecuted Jews. Freud could not quite come up with an answer either: he knew no Hebrew, he explained, he was estranged from the religion, did not share the Zionist dream, so what was there left to him that was specifically Jewish? His answer: “A very great deal … probably its very essence.” But this “essence” he, the Uber-shrink, the inventor of the talking cure, admitted, disarmingly, “could not … express clearly in words”.

Bernard Wasserstein cannot answer the question either but offers us instead an extraordinary and unparalleled mapping out of the “Jews” of Europe on the eve of the genocide. In 1939 there were some 10 million Jews in Europe, three-quarters living in only four countries: 3.2 million in Poland, 3 million in the USSR, 850,000 in Romania and 625,000 in Hungary. Another million or so were in the three leading Western European countries: Great Britain (380,000), France (320,000), and Germany (345,000). What emerges most strongly from this fascinating demographic anatomy of European Jewry is how different Jews were (and are) from each other. A minority were Sephardim (10 per cent, mainly in parts of the defunct Ottoman Empire). The others were all Ashkenazim, but they were deeply divided: the “Litvaks” in Lithuania, the Galitsyaner in Galicia, the Odessa Jews, the Polish Jews, the Western Jews, the Ostjuden (emigrants from Eastern Europe), the emancipated and “modern”

Jews of France and Germany. Each group carried stereotypes of each other. As Joseph Roth remarked: “The more Western the origins of a Jew, the more Jews there are for him to look down on. The Frankfurt Jew despises the Berlin Jew, the Berlin Jew despises the Viennese Jew, the Viennese Jew despises the Warsaw Jew. Then there are Jews from all the way back in Galicia, upon whom they all look down, and that’s where I come from, the lowest of all Jews.”

But is this so special? Many non-Jews, too, despise others because of the differences in accents, or wealth, or education, or beliefs, or politics. Perhaps Jews, like the English, the French, the Americans and many others, believe that everything about them is ­exceptional.

Wasserstein, dispassionately and with exemplary level-headedness, tells us where Jews are different. Since they were particularly urbanised, it is not surprising that there should have been so many among the urban self-employed. Still, the numbers are staggering. In Romania, for example, Jews owned nearly one-third of all private commercial enterprises. In Vienna, as many as 65 per cent of doctors were Jews, in Poland it was half. In Hungary, where Jews were only 5 per cent of the ­population, half the lawyers and one-third of the journalists were Jews. Access to the civil service was more difficult everywhere except in the Soviet Union, the country in Europe in which, according to Wasserstein, “Jews were most disproportionately represented in the power elite”. Though Soviet Jews were only 1.78 per cent of the total population, they were 15.5 per cent of university graduates in 1939. Jews qua Jews were not a primary target of the great terror –  Genrich Yagoda, a Jew, was head of the secret police from 1934 to 1936. (But then, that was a most dangerous job and Yagoda too was eventually executed.)

Most Jews were middling poor, like most people before 1939. The most prosperous, however, were the German Jews – so proud of their (German) culture, and so disdainful of the language and lifestyle of the Ostjuden. Hence their disorientation in the late 1930s when their material and social world ­crumpled.

Much of the distinctiveness Wasserstein attributes to Jews can be found elsewhere. Many Jews adhered only to some essential rites of passage: circumcision, religious marriage. Judaism was like an à la carte menu – just like Catholicism for many Catholics. Some refrained from eating pork but ate oysters; others did not smoke on Saturday but drove. Secular Jews viewed religious Jews with utter contempt (as many secularists do even now). “Modern” Jews considered Yiddish, on the retreat everywhere, a barbaric language, just as educated French and Italians looked down on those speaking patois. Divisions, even among the orthodox, could be formidable. An ultra-orthodox Hasidic rabbi regarded other ultra-orthodox, the Agudists, with unmitigated hatred: “The Agudists, may their name be blotted out … are worse than those dogs the Zionists.” A further example, it is said, of Freud’s thesis on the narcissism of small differences.

The Zionists were a minority everywhere and deeply divided into rival factions: in the centre the pro-British mainstream led by Chaim Weizmann, on the Left Poalei Zion,  and on the far Right the Revisionist Zionists of Vladimir Jabotinsky (whose legacy is carried by Benjamin Netanyahu). In Poland the left-wing Jewish Bund denounced the Zionists and their dream “of a Jewish state built on sand and English guns”.

Zionists shared with anti-Semites a belief in the impossibility of Jewish assimilation. Anti-Semitism was, then as now, the fuel of Zionism. There was no room for the Jews in our society, declared the anti-Semites, they must be expelled or destroyed. The Zionists agreed: Jews must have a nation state like everyone else. Both were highly critical of existing Jewish society. A Zionist wrote of other Jews: “They live like a worm reared in the gutter of a roof which then falls off the roof into a street drain but perforce acclimatises itself to the new environment.” Not surprisingly, in post-Anschluss Austria the SS assisted Zionists to organise the departure of Jews to Palestine.
Wasserstein wants to refute the view that the Jews of Europe did not react to their predicament, that they waited passively. On the contrary, they sought to meet the threat facing them in all possible ways: some tried to assimilate, some tried to emigrate, some converted, some enclosed themselves in a cultural ghetto, some became Communists, or socialists, or liberals, even Fascists. They tried to be actors in their own history but were never strong enough to be masters of their own fate.

Children of a Vanished World (S.Mark Taper Foundation Book in Jewish Studies by Roman Vishniac
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The Elegance of a Bygone Era-Tea Dances

Tea Dances are back in fashion

Popular in the interwar period, if not before, the tea dance must have been a gentle affair that offered an opportunity to relax with friends and with the possibility of meeting new partners. The recreational space around an outdoor bandstand had afforded a similar opportunity in the Edwardian era. This is discussed in  People’s Parks by Hazel Conway and in a review by Susan Hill in the LRB she commented, ” At the same time, forms of design and architecture peculiar to the parks grew up – bandstands, pagodas and winter gardens, floral clocks and tea houses were the popular art of the parks.” There is a website that specialises in images of bandstands at http://www.satiche.org.uk/bandstands/bs-uk.htm

Mabel Frances Layng (English artist, 1881–1937) Tea Dancing circa 1920
Polish pottery made in Boleslawiec with moulds.

The indoor space of the tea dance was more intimate than the park and it is interesting to note that the spectacle apparently evolved from the French colonisation of Morocco, hence the correct term, thé dansant.. Morocco became a protectorate of France in 1912 after the Agadir crisis. In any event the tea dance had reached England by 1880 and appears to have become popular in the suburbs rather than London, in garrison towns and no doubt was popular amongst with the ascendancy of the Raj as well. Tea dances frequently followed upon afternoon summer garden parties. More details are to be found on http://www.teamuse.com/article_010702.html in an article by Jane Pettigrew.

An old postcard from the Morrab Gardens in Penzance

Tea dances must have become more popular in the Jazz era and dances like the Tango and the Charleston would have added extra fun; the invention of the gramophone although records could easily be scratched might have added variety if a dance band was not available or affordable. It also seems that as well as the event itself, tea dance dresses too have once again become popular.

 

There is a very entertaining and informative website at http://bjws.blogspot.co.uk/search/label/Teawhich has paintings by the Peruvian artist, Albert Lynch 1851-1912 and the English Artist Mabel Frances Laying, 1881-1937. In addition there are some beautiful teapots and details of eighteenth century coffee houses and the splendid Baltimore Tea Gardens. For some recent interpretations try:-https://www.youtube.com/watch?v=GpwbyggIFuo

Albert Lynch (Peruvian artist, 1851-1912) Young Woman in Straw Hat
Albert Lynch (Peruvian artist, 1851-1912) Young Woman in Green Hat
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Art and Photographic History Art Exhibition Reviews Uncategorized

British Surrealism at Falmouth Art Gallery

Agar, Eileen (1899-1991): Untitled, signed, inscribed 18/75, lithograph, 75.5 x 57 cms. Presented by Tremayne Applied Arts, St Ives.

There has been a renewed interest in works of British Surrealism in recent years. In summing up an exhibition in The Independent on the 26th May 2008 at The Middlesborough Institute of Modern Art- http://www.independent.co.uk/arts-entertainment/art/features/british-surrealists-minor-league-but-major-players-834236.html -Tom Lubbock wrote,” People have said that Britain was Surrealism’s original native land Alice’s Adventures in Wonderland, William Blake, the gothic novel, Gulliver’s Travels etc. Perhaps we didn’t need the whole movement-and-manifesto thing. But it produced, slightly by accident, a group of very interesting pictures that ought to have a wider showing, and which the Sherwin Collection is willing to lend.” Clearly symbolism and surrealism have obvious links in mythology and archetypes and such matters were thrown into the generally creative and tempestuous furore which grasped interest in the period between the wars.This climaxed in in the organisation of the International Surrealist Exhibition in London in 1936. There is some evidence of these issues in the paintings displayed in the current exhibition, mostly on loan in Falmouth from the Southampton Gallery. The artists on show include PAUL NASH,CECIL COLLINS, CERI RICHARDS, ROLAND PENROSE, JOHN TUNNARD, EILEEN AGAR &ITHELL COLQHOUN.

Some idea of the range of the Exhibition may be gained from the images to be found at this website, http://www.thisiscornwall.co.uk/pictures/Photos-British-Surrealists-Falmouth-Art-Gallery/pictures-16910494-detail/pictures.html

However, the most exuberant and baroque piece was a comparatively recent work by David Kemp – entitled “The Hanging Gardens of Basildon”. On his blog, Kemp comments, “It is one of a series of a dozen large plant forms, all influenced by “THE GARDEN OF EARTHLY DELIGHTS” an enigmatic painting by the great Hieronymus Bosch, which  explored many  aspects of medieval life, many of which might still be seen as relevant to the human condition, in our modern world?” This comment on the fantastic botanical forms and the connection with Bosch is reminiscent of the work of the VienneseSchool of Fantastic Realism as explified by Arik Brauer whose interest in Bosch he derived from his own tutor, Albert Paris von Gütersloh.

Arik Erich Brauer Die Honigkaeuferin

No visitor can possibly fail to be impressed by the peculiar botanical drawing, named “Prophylactic sea-mouth” by Edith Rimmington. The haunting form appears as some kind of elongated mutation of a dogfish egg-case with a coiling eel like flagellum.

However, for those interested in the development of the work of Paul Nash, his oil painting, “The Archer” will doubtless attract attention both for its muted complementary colours and the charmingly odd bucolic setting. A friend comments in a personal communication, “The Nash is one of his complex compositions worked on for years with bits from all over the place.  There is a letter by Nash about it in Tate Archives. The central ‘archer’ feature was a structure he made from an old toy boat, glass tube, twig, seaweed etc.  I don’t think it exists anymore other than as a photo. It looks more compelling in the photo with strong echoes of surrealist sculptures by Giacometti, Man Ray etc.  He constructed (like Lanyon), collected and photographed sculptural objects from which he derived elements of his paintings.

Paul Nash The Archer

The ‘target’ is from Men-An-Tol of course + mirrors etc; the shadow of the girl bottom right, sampled from De Chirico etc.etc.  All very sexual with the ineffective arrow being merely the shadow of the archer….. I’m not convinced that he managed to get it to cohere as an image.  I wish he had left the landscape dominant as with ‘Landscape at Iden’ http://www.tate.org.uk/art/artworks/nash-landscape-at-iden-n05047 where the symbolic elements infuse the composition naturally.”

Those interested in Roland Penrose’s work can consult http://www.rolandpenrose.co.uk/works.aspx

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Literature Poetry

Autumn and Rilke, Keats usw.

René Karl Wilhelm Johann Josef Maria Rilke

 

 

Rilke’s poem seems apt for the time of the year, although the recent summer might be difficult to describe exactly as  groß.

Herbsttag

Herr: es ist Zeit. Der Sommer war seht groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.

Befiehl den letzten Früchten voll zu sein;
gieb ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.

Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

One translation may be found at http://picture-poems.com/rilke/images.html#Herbsttag

The phrase “picture-poems” is suggestive of imagism and Pound and Wyndham Lewis somehow seem to be current in the zeitgeist with the excellent production of Parade’s End on BBC2 adapted by Tom Stoppard in currently much in vogue. There are certainly lines which capture the visual imagination such as,” auf den Fluren laß die Winde los.” Although time and season are obviously central to the poem. This dynamic is reinforced in the second stanza with,” Befiehl den letzten Früchten voll zu sein;
gieb ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin…..” Befiehlen here probably being an invocation so as to arrange, allow or ordain matters so that the fruits attain full ripeness.

The wind, frequently and beautifully referred to in Shakespeare’s sonnets, also connected with time for example Sonnet 54 as wanton, (” As the perfumed tincture of the roses,

Hang on such thorns, and play as wantonly

When summer’s breath their masked buds discloses:”) adds to the unruly, random, dégringole quality and to the sadness, possibly of the poet himself, in the final stanza.

Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

Of course, most English readers will immediately be reminded in this poem of Keats’s Ode to Autumn.

Season of mists and mellow fruitfulness!
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;
To bend with apples the mossed cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’erbrimmed their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reaped furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers;
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cider-press, with patient look,
Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too, –
While barred clouds bloom the soft-dying day
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing, and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.

Keats wrote in 1819, ‘How beautiful the season is now–How fine the air. A temperate sharpness about it. Really, without joking, chaste weather–Dian skies–I never liked stubble-fields so much as now.”

John Keats

For an insightful and a radical and political reading of Keats’s poem, it is worth looking at A Poetry Primer, The Secret Life of Poems by Tom Paulin (http://www.amazon.co.uk/Secret-Life-Poems-Poetry-Primer/dp/057127871X/ref=sr_1_1?s=books&ie=UTF8&qid=1346952035&sr=1-1)

in which the poppies are associated with the repressive/reactionary use of the Redcoats of the British Army and the grim reaper’s sickle with the cavalryman’s sword. If Rilke knew of Keats’s Ode as one imagines he did, he is unlikely to have been aware of such associations.

There is an entertaining discussion of Rilke in Clive James’s splendid collection, Cultural Amnesia: Notes in the Margin of My Time.

There is a detailed website in German at http://www.rilke.de/

Another discussion of Keats’s Ode is at http://www.guardian.co.uk/books/2012/mar/23/john-keats-autumnal-idealist-social-commentator

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Book Reviews Uncategorized

Bomber County: The Lost Airmen of World War Two by Daniel Swift

BomberCounty is, of course, Lincolnshire where squadrons of Beaufighters, Wellingtons, Halifaxes and Lancasters were huddled in hangars for combined raids against enemy targets in German occupied Europe. As the war progressed the targets escalated, from attacks against the German Fleet, the industrial complex of the Ruhr and later, with the aim of breaking enemy morale, the targets included the cities-including Hamburg, Berlin, Dresden and Cologne. Night after night, crews already warmly dressed in jerseys and thick woollen socks zipped themselves into flying suits and made their way towards the enemy coast. Conditions were cramped and the temperatures plummeted as they gained altitude flying by the light of the moon to their appointed destinations.

By Daniel Swift

Later in the War, navigators were able to use the hazy reflected signals of H2S to guide them over the changing relief of the land towards enemy territory. Ack-ack batteries, enemy nightfighters and heavy flax over the target took a heavy toll on crews. This book relates the loss of one pilot, James Eric Swift of 83 Squadron on a raid on Munster, early in June 1943. His body was later discovered washed up on a beach in Holland. In this multi-layered book Daniel Swift, his grandson, sensitively retells this family story. He is further inspired to explore a range of related issues from poetry and literature to the morality of the bombing campaign as it was conducted later in the War.

The cover of this handsomely produced volume depicts the distorted perspective of aerial warfare as depicted by Paul Nash; it shows that visual arts produced effective responses to combat. The contrasting situation in poetry is examined throughout the book in counterpoint to the narrative. From classical times Virgil declared Arma virumque cano ( I sing of arms and man) in The Aeneid but this kind of warfare has weaponry that operates at speed and men have little time for reflection unlike the poets of The Great War; Owen, Rosenberg and Sassoon. Daniel Swift refers to the dirge like rhythms of Dylan Thomas’s A Refusal to Mourn the Death, by Fire, of a child in Londonwhich despite the title, is a deeply moving elegy. The author also has much to say of interest on TS Eliot and Virginia Woolf’s responses to the Luftwaffe’s raids.

Swift makes mention of a small number of poems written by pilots like those encouraged by C Day Lewis. There is an exhilaration in flight which has been memorably captured by the lyrical French writer Antoine de St Expurey. Poetry is also inspired by heroism and myths such as that of Ovid’s Daedulus and Icarus, Such matters prompt Swift to tender family reflections and musings on the writings of Auden and Isherwood. These considerations make this an unusual memoir for his Squadron Leader Grandfather about whom Swift has thoroughly researched the archives.

Poetry was very popular during the Blitz, however, it sits awkwardly with mass bombing and firestorming and its effect on civilian populations. Swift who teaches English Literature at SkidmoreCollege in upstate New York is aware of the arguments concerning the morality of debates on such issues which continue to rage on and indeed intensify in relation to more recent conflicts. Arguments and emotions proposed and expressed by Orwell, Churchill and the ethical arguments on the effect of such destructiveness by AC Grayling and other philosophers are briefly outlined.

The Avro Lancaster Bomber

Did the barbarism of the Nazis justify the adoption of the ruthless means of waging war that led to Slaughterhouse V? The poetry falters as we consider events that ended that conflict; the use of Nuclear Weapons and the emerging political doctrine of Mutual Assured Destruction. Swift examines and acknowledges many of the issues including the guilt about delivering death at a distance –especially in relation to the poetic recollections of James Dickey; a poet to thank the author for here introducing to a wider audience.

This interesting, informative and hybrid book should remind us all that the poetry as Wilfred Owen stated, lies in the pity. This pity must eventually bring reconciliation. However, UN estimates on August 10th, less than a month ago, quoted in the Guardian of that date; show the number of child casualities in Afghanistan has soared by 55%, despite strict rules on the use of airpower by NATO troops. This heartfelt first book reminds us that the best memorial to lost  grandparents is to earnestly strive for peace for our grandchilldren

Categories
Art and Photographic History

De Kooning and friends

 

This photograph of de Kooning and his wife, Elaine is engaging in its own right and may be found on a very useful and visually appealing website, at http://artistandstudio.tumblr.com/archive a site which includes self-portraits, painters and their models, their ateliers in pictures and photographs. Looking at this handsome couple prompts further work into abstract impressionism, its history and associated figures. The photograph is particularly engaging and was taken by Ibram Lassaw.

Willem de Kooning(April 24, 1904 – March 19, 1997) was born in Rotterdam in the Netherlands and journeyed to New York at the age of twenty, he was a stowaway and was very taken by Jazz. He came to prominence when he painted the 105 public murals for the 1939 New York World’s Fair. As the Wikapedia article about him states,” As his work progressed, the heightened colors and elegant lines of the abstractions began to creep into the more figurative works, and the coincidence of figures and abstractions continued well into the 1940s”. At http://www.theartstory.org/artist-de-kooning-elaine.htm it states of the couple,” Elaine and Willem de Kooning endured a long and, at times, very tumultuous marriage. As much as each artist benefited from one another’s paintings and teachings, they mutually suffered due to constant infidelities and struggles with alcoholism.”

Of particular interest is the abstract expressionism developed by de Kooning’s erstwhile colleague, whose fascinating work can be viewed at http://www.tumblr.com/tagged/adolph-gottlieb?before=1338654139 Gottlieb joined de Kooning and others, including Mark Rothko from 1935 to 1940 in a group known as “The Ten” http://www.louisschanker.info/tendisc.htm. Some of Gottlieb’s ouevre is somewhat reminiscent of Paul Klee.

 

Mariner
Man Looking at Woman by Adolph Gottlieb

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