Category: Film
I am not here following the caretaker Prime Minister who has resigned but not. He appears to live in some sort of borderland theatre which has become boring beyond belief; I am referring to Boris Drayluk’s collection of poems My Holywood published by Paul Dry Books. I have just finished Jonathan Coe’s Mr Wilder and Me and am currently reading Nicholson Baker’s The Anthologist which seem to form a suitable background on which to project Drayluk’s moving collection.
His collection begins with a mixture of recollection and nostalgia-
This much is clear :the good old days have passed
Some giant fig trees, a few pygmy palms
deep broken shade on disenfranchised grass;
This magnificent collection by the Editor-in-Chief of the Los Angeles Review of Books has many lovely poems. Dralyuk has a stirring feeling for the dilapidated landscape of Los Angeles and a wide understanding of the hinterland of European Culture. He is a skilled translator and his poems have a deep moving quality appropriately relieved by wit and humour. Here is one short example-
OLD FLAME
Above the tongue-tip is an air so blue
I can compare it only to how you
who once consumed me in a yellow heat,
now scarcely singe me when we meet.
Dralyuk writes of loss and passing time and of memory under the condition of exile. I particularly enjoyed Stravinsky at the Farmer’s Market; here are two stanzas.
Christopher Isherwood is a disciple, slipping
off to the Viertals on the weekends far from Swami,
swimming naked. In Brentwood, Schoenburg lobs grapefruits
and insults at Feuchtwanger’s wife.
Herr Doktor Faustus, exile is no bargin.
You move von heute auf morgen.
Stravinsky lunches at the Farmer’s Market.
The Firebird is plucked, Petrushka’s henpecked.
Here there are layers of sorrow portrayed in a dream-like landscape. Here is a photograph of the poet and a YouTube interview on this collection.
It is always interesting to surmise what was happening in the world when you were a very small child. This intriguing black and white film from 1947, Hue and Cry has some of the answers. It is set in the feral landscapes of bombed out London. However, the spirit and humour of the kids captures some of the trauma of the recent blitz but much more the youngsters resilience. The following clip shows a little of what I mean.
I found this DvD in one of my local charity shops and was intrigued by the fact that the plot revolves around a children’s comic called The Trump. The blurb on the reverse also mentioned that it was the first of the famous Ealing Comedies and there were fascinating shots of post-war London’s exterior locations. In fact as I watched the film it in some parts reminded me of seeing the recent gang wars of Sondheim’s West Side Story as filmed by Spielberg. Indeed some of the visual tropes or tricks were similar too. This second clip gives details about the locations of the film and how they look today.
Passing beyond the psychogeography of “Hue and Cry” I also thought there was a sort of undertext. The working class children with their naïve and energetic enthusiasm overcome the sharks and spivs in their criminal activities. Very much the product of those heroic times when the Atlee government brought so much to recovery. There was something democratic if somewhat frenetic here which vividly contrasts with life here today. The hectic has become frenetic in a Governent of the Posh Boys and what used to be known in Lambeth as Wide Boys.
https://en.wikipedia.org/wiki/Wide_boy#Fictional_portrayals
To finish on a more upbeat note; this film has amusing glimpses of life in the old Covent Garden Market. It is worth watching for that alone. However, the acting of Lambeth born Harry Fowler, Jack Warner and especially Alastair Sim is superb. Talking of markets let me conclude with these lines from Charlotte Mew’s Saturday Market.
Leon Brenner is an energetic and creative Philosopher and Lacanian Psychoanalyst who lives and works in Berlin. Last week he gave a Zoom talk on the subject of The Dermic Drive in Autism in which he followed this, his schema:-
Counter to the ways it is conceived through both cognitive and identitarian approaches, autism might be productively thought of as a unique subjective structure that sits alongside the classical Freudian structures of psychosis, neurosis, and perversion. Earlier psychoanalytic thinkers have linked autism and the onset of autism to the supposed experience of early disturbances in ‘skin function’. In this talk Dr Leon Brenner will expand this notion of ‘skin function’, exploring its relation to and confection in language. Conceiving the skin as a potential modality of the Freudian drive (Trieb) – the dermic drive – Dr Leon Brenner will seek to unpack how the different relations to and with the Other such a drive would instantiate allow fresh insights into our understandings of autism.
Dr Brenner’s blog may be found at https://leonbrenner.com/
Here are some points of clarification-
- Here is what R,D.Hinshelwood has to say in clarification in his book, A Dictonary of Kleinian Thought-Among the previous psychoanalysts studying this subject three in particular drew my attention. Esther Bick whose work included infant observation, the relation between skin sensations and feeling contained, the creation of the experience of the body as an internal space. Bick worked with Donald Meltzer and together they arrived at the concept of Adhesive identification: The possible failure to develop such an integrating primary object (space) appears to be confirmed in work with autistic children (Meltzer et al., 1975) [see AUTISM]. Bick and Meltzer (Meltzer, 1975, 1986) collaborated in describing the ways in which autistic children develop without a sense of internal or external space. Their relationship with objects appears to be a ‘sticking on to’ the object, a mechanism called adhesive identification.
2 Hinshelwood also explains the manner in which mimicry replaces the normal development of internal psychic space-
projective identification cannot be properly employed because of an absent sense of internal space (see INTERNAL REALITY). Meltzer (Meltzer et al., 1975) took up these ideas and found them important in research into a child-analytic technique with autistic children. Meltzer described a child who
tended to draw pictures of houses, in which there was a house on this side of the paper, and there was a house on the other side of the paper and when you held it up to the light, you saw that the doors were superimposed, you know, a kind of house where you open the front door and step out the back door at the same time. (Meltzer, 1975, p. 300)
In the course of this collaboration, Bick and Meltzer began to recognize a pattern in these ‘second-skin’ formations (see SKIN]. Bick typically called it an act of mimicry. However, what they began to realize was that the mimicry represented the experience, and phantasy, of sticking to an object as opposed to projecting into it [see 13. PROJECTIVE IDENTIFICATION]. A lapse in developing a sense of internal spaces leads to a tendency to relate to objects in a two dimensional way, without depth [see AUTISM]:
The following are some thoughts in no particular order which I had during this engaging seminar:-
- This evocative song has been in the background since contemplating this whole issue with it’s phrase “wake up to reality”. Sung here by Frank Sinatra https://youtu.be/C1AHec7sfZ8
- There is a body of work which talks about the use of makeup which can become of huge importance in certain stages of life applied so as to display a perfect impression. Frequently referred to interestingly as “warpaint” and acting as a mask or perhaps a second skin. See for instance this https://discover.hubpages.com/education/The-Gallery-of-the-Fool and the work of Joan Riviere https://psychoanalysis.org.uk/our-authors-and-theorists/joan-riviere
- There is a particularly interesting chapter in Betty Joseph’s collection “Psychic Equilibrium and Psychic Change” on the analysis of a patient with a rubber fetish in which she discusses the use of projective identification of excitement, oral sadism and how she was able to contain, explain and resolve these issues within the analytic sessions.
- It would seem that the elastic and adhesive properties of relationships can be expressed vividly by means of cartoon characters. In particular it is possible to think of matters like “bouncing back” being “caught on the rebound” as well as “sticking together through thick and thin” as well as someone “sticking to another like glue” somewhat unpleasantly or uncomfortably.
–
As someone has commented on You Tube underneath the above, “Wonderful , soulful, expression of Imperial Russia from many aspects just before the Black Curtain of the war that aesthetically affects us into our era!” There are even colour photographs of that strange era in Russia before the Revolution that show the huge contrasts in wealth and also the peaceful landscape which is evoked like a distant Edwardian Summer. Serov died in 1911 having left behind masterpieces of portraiture including his own famous self-portrait. His style was realistic and is still much beloved by the Russian people.https://en.wikipedia.org/wiki/Valentin_Serov
by Marvin Lyons
I have just discovered this film which looks good too-
![Nostalgia [DVD]](https://images-na.ssl-images-amazon.com/images/I/71M1Jp562nL._AC_SY445_.jpg)
Finally there is an excellent paper, well worth thorough consideration by Stacey Novack called “The Politics of Nostalgia” at https://publicseminar.org/2016/11/the-politics-of-nostalgia/
Categories
If you forget me -Pablo Neruda
“I want you to know
one thing.
You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.
Well, now,
if little by little you stop loving me
I shall stop loving you little by little.
If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.”
This poem contains some moving imagery which reminds me of ice and fire. Glowing embers and decay which are capable of re-igniting. Images which are intangible and sadly to me at least it conveys ambivalence. He is dependent upon being loved and his memory depends upon this too. There is a deep fragility here which makes the poem more beautiful. There is also the strong possibility of exile under discussion. The ash appears to rise like a prayer towards Heaven like little sailing boats of childhood dreams.
Further discussion is at https://theculturetrip.com/south-america/chile/articles/the-most-famous-poems-by-pablo-neruda/
Extract from the Daily Mirror
The emergence of this wrecked Beaufighter after more than 75 years struck me as interesting for a variety of reasons. Rather as memories emerge from traumatic periods in the past. It seems to me that much of the current political debate over Brexit and other matters is connected with unresolved conflicts from the past. Also there is the contrast or juxtaposition between the terrible last moments in the cockpit, as the engines failed, and the discovery of the wreck by the arrival of the dog bounding across the sands so many years later.
Thinking of the variety of persons lost from Leslie Howard, the Film-star in 1943, Antoine St Expupery in July 1944 (https://en.wikipedia.org/wiki/Antoine_de_Saint-Exup%C3%A9ry) and the disappearance of Jazz Band leader Glenn Miller in December 1944, I came across this famous poem by W.B.Yeats.
An Irish Airman Forsees His Death
I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public man, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind,
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death.
This great poem exposes what sometimes is forgotten – the treatment of the Irish in the shady forgotten history of British imperialism. Kiltartan by the way is not far from Galway.
Categories
Nanki-Poo in the Rose Garden
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.
So writes T.S. Eliot in Burnt Norton, the first of the Four Quartets. It makes one wonder what memories can be recalled of this particular Rose Garden. A slightly strange venue to choose surely? Maybe the door ought not to have been opened? Most will recall the unfortunate and strange meeting that heralded the unfortunate Coalition Indeed, it was another Special Adviser, Julia Goldsworthy who was to finally conclude, “Many Liberal Democrat activists would have found the Rose Garden love-in between David Cameron and Nick Clegg “sick-inducing”. Perhaps it was to give a green tinge to distract from 260 miles or more of carbon emissions.
It is not just the receding hairline of Cummings that brings G and S’s Mikado character of Nanki-Poo to mind. This histrionic and grumpy individual needs a trickster or Jungian alter ego. Remember it is Nanki-Poo who sings-
The flowers that bloom in the spring,
Tra la,
Breathe promise of merry sunshine —
As we merrily dance and we sing,
Tra la,
We welcome the hope that they bring,
Tra la,
Of a summer of roses and wine,
Of a summer of roses and wine.
And that’s what we mean when we say that a thing
Is welcome as flowers that bloom in the spring.
Tra la la la la,
Tra la la la la,
The flowers that bloom in the spring.
This indeed is the Topsy-Turvy World where the Rose Garden becomes the stage for attic antics. Incidentally, Topsy-Turvy is an excellent film directed by the redoubtable Mike Leigh about the making of the Mikado.
The Mikado is relevant here too in more serious ways- it is about a fiercely autocratic society. There is the haughty nobleman, Pooh-Bah.There is making the punishment fit the crime. In Leigh’s film there is drug addiction- there is social distancing and the overwhelming distance brtween performance and the dark and stark reality. In both there is meiosis, a drastic understatement of the situation. Which brings us back to today’s performance attempting to come up smelling of roses.
Durward Lely as Nanki-Poo
penwithlit 