Tell No One (Ne le dis à personne)

A long and involved French thriller, intriguing and violent. All about what-really-happened-that-night-all-those-years-ago. Spoilt by the ending, where one of the characters [SPOILER AVOIDANCE, SORT OF] gives one version – shown, with his commentary as a voiceover – replaced shortly after by another filmed version. Unlike Cluedo, or (apparently) The French Lieutenant’s Woman, this is meant straight, but reminds me of the stories in Viz which end with a character stripping off to reveal a uniform (“Aha! But I’m a policeman!”); the criminal then unzips himself, “But I’m a lizard from Planet Yuk!”. “Aha!” replies our copper, peeling off his uniform, “But I’m really Murg the Mighty, Planet Yuk’s imperial overlord!”, “But I’m Paul Daniels!”, etc.

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Plato’s “Protagoras”

Less cruel to Protagoras than I remember, but very funny in places nevertheless. Interesting prelude to utilitarianism at 356B, where Socrates, arguing (as usual) that people act badly through ignorance, suggests a calculus whereby actions can be considered good or bad by weighing up all the benefits and drawbacks, on both short and long terms, and seeing which side the balance falls. He seems to ignore, however, the question of whether an action is good or bad for oneself or for others: in this argument robbery would be a good thing if it results overall (once one’s factored in the fear and risk of punishment) in benefits to oneself; the suffering of the victim is ignored.
Interesting also how Socrates and Protagoras both end up in positions opposite to those with which they began the dialogue; unique as far as I can remember for Socrates to change his mind. Does this show Plato’s respect for Protagoras, or a playful turn – the arguments in this dialogue are particularly duellistic, ad hominem?

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Tellus Issue 3

The third issue of Ailsa Hunt’s journal of poetry inspired by the classical world.
Brian Walter’s “Metrodorus of Skepsis” introduces (to me) this scholar who famously used 360 regions of the zodiacal sky as mnemonic locations for ‘everything he’d ever heard’. The poem doesn’t knock me out, but plays cleverly with the randomness of what we remember, the little details. More focus on apparently random details in Carolyn Dille’s “Clio at the Blue Note”, an imagining of the Muse of History performing at a jazz club, which turns the infinite details of history and causation into a bravura improvisation, ending with the memorable ‘Chernobyl’s chatter, Mikínai’s murmuring stones’.
James Norcliffe’s “Cyclops” takes a few readings, and/but communicates really well the paradox of an ugly, reclusive divine being, shunning life with the gods for the ‘back of the cave’, feeding on ‘sashimi seamen’; Norcliffe takes the same line as Zachary Mason’s story “Blindness” story in the brilliant The Lost Books Of The Odyssey. And Niamh Corcoran, in “Figurehead”, powerfully, in a sequel to Sappho’s fragment 22, describes a strongly physical and lustful relationship (‘Summer came and your love came at me / like a figurehead, bold Venus chiseled / into the prow of the craft’). Nicely evocative descriptions of greedy sex, always tasteful, but in the final words (‘current after cutwater’) surely hinting at the organ central to such lesbian goings on?
But the best poem, imho, is Sarah Johnson’s “On Not Knowing Greek”, on the surface a simple account of trying to work out the meaning of a passage of Greek, and then, on the walk home, watching a dog grab a stick. But the dog grabbing the stick is compared to the hunting hound grabbing Actaeon’s ankle, thereby deftly making the poem into a little meditation on the search for meaning: Johnson’s earlier stanzas are then read as an analogue to Actaeon’s pushing through the branches to get a forbidden glimpse of Artemis bathing (“I worried the tangle for hours, / with Smyth’s Grammar open, / showing its pale belly”), so the poem suggests that a text’s meaning, once spied, can come back and bite you, that the scholarly quest is a kind of indecent, or illicit, prying. Something Johnson’s poem itself demonstrates.

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“No Exit” (“Huis Clos”) by Jean-Paul Sartre

[play text]

Three characters shown to the same room by a valet. It’s Hell, and the whips, fires and electrodes are replaced by three characters in the same room. It’s the source of the well-known “Hell is other people”, a realisation uttered by the male character, Garcin, near the end. Shortly before that he asks “Will night never come?”, a plea picked up by Vladimir in Beckett’s Waiting for Godot (thanks to Rob Short and ‘anamnese’ for identifying the tramp).

Sartre develops the ideas that the eternal torment deserved by his three evil-doers (2 murderers and, appropriately enough for its wartime production, a coward) is constituted by each other: Estelle tries to get physical love from Garcin, but the dominant and lesbian Inez keeps them apart with jibes and manipulation. Garcin attempts to ‘save’ himself by getting either of them to believe he isn’t a coward, but gives up in failure when he realises that in this environment people will have no consideration of honesty, but will say whatever gives short-term expediency – nothing has meaning. They are, therefore, on the one hand driven by insecurity and the need to attempt communication, but can never communicate anything of genuine meaning. A real paradox which will keep them going, in torment, for eternity.

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The Hunger Games

A great example of mythic cinema: a story which echoes, bounces round, firing grappling hooks to draw things together.

The Imperial world is that of the Sun King, of Rome, of Brazil; the game arena is the world of Truman, of Theseus; the concept is Gladiator, Milgrams, Rollerbowl, even The Apprentice. And at the level of allegory it’s the animal survivor within us all, within civilisation, usually drugged with sport and games shows, here made more distinct. But it’s also a straightforward Star-Wars anti-Empire epic, the underdog against the establishment; who crumble under the threat to their televised sentiment presented by the heroes’ intent to commit suicide.

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“The Soul Of Man Under Socialism” by Oscar Wilde

A series of cut’n’pastes from Wilde’s essay. Lots here. His sympathies lie with the poor, whose condition he clearly recognises (“[criminals] are merely what ordinary, respectable, commonplace people would be if they had not got enough to eat”). And his equation of the classical world’s artistic successes’ dependance on slavery with a projected machine-toiled utopia is rare. Yet his disdain for democracy (“One who is an Emperor and King may stoop down to pick up a brush for a painter, but when the democracy stoops down it is merely to throw mud”), his Frank-N-Furter idealism about Art and ‘being’ (“[Jesus] said to man, ‘You have a wonderful personality. Develop it. Be yourself'”), and his occasional lapses into I’m-saying-the-kind-of-things-Oscar-always-says, weaken the force of his insights.
Wilde and Ken Livingstone are assessed in LRB 10 May 2012: both were/are driven by being other than their background, both fighting “dullness”.
See also David Goodway (halfway down).

We are often told that the poor are grateful for charity. Some of them are, no doubt, but the best amongst the poor are never grateful. They are ungrateful, discontented, disobedient, and rebellious. They are quite right to be so. Charity they feel to be a ridiculously inadequate mode of partial restitution, or a sentimental dole, usually accompanied by some impertinent attempt on the part of the sentimentalist to tyrannise over their private lives.

Disobedience, in the eyes of anyone who has read history, is man’s original virtue. It is through disobedience that progress has been made, through disobedience and through rebellion.

I can quite understand a man accepting laws that protect private property, and admit of its accumulation, as long as he himself is able under those conditions to realise some form of beautiful and intellectual life. But it is almost incredible to me how a man whose life is marred and made hideous by such laws can possibly acquiesce in their continuance. However, the explanation is not really difficult to find. It is simply this. Misery and poverty are so absolutely degrading, and exercise such a paralysing effect over the nature of men, that no class is ever really conscious of its own suffering. They have to be told of it by other people, and they often entirely disbelieve them. What is said by great employers of labour against agitators is unquestionably true. Agitators are a set of interfering, meddling people, who come down to some perfectly contented class of the community, and sow the seeds of discontent amongst them. That is the reason why agitators are so absolutely necessary. Without them, in our incomplete state, there would be no advance towards civilisation
It is to be regretted that a portion of our community should be practically in slavery, but to propose to solve the problem by enslaving the entire community is childish. Every man must be left quite free to choose his own work. No form of compulsion must be exercised over him. If there is, his work will not be good for him, will not be good in itself, and will not be good for others. And by work I simply mean activity of any kind. I hardly think that any Socialist, nowadays, would seriously propose that an inspector should call every morning at each house to see that each citizen rose up and did manual labour for eight hours. Humanity has got beyond that stage, and reserves such a form of life for the people whom, in a very arbitrary manner, it chooses to call criminals. But I confess that many of the socialistic views that I have come across seem to me to be tainted with ideas of authority, if not of actual compulsion

Private property has crushed true Individualism, and set up an Individualism that is false. It has debarred one part of the community from being individual by starving them. It has debarred the other part of the community from being individual by putting them on the wrong road, and encumbering them

‘Know thyself’ was written over the portal of the antique world. Over the portal of the new world, ‘Be thyself’ shall be written. And the message of Christ to man was simply ‘Be thyself.’ That is the secret of Christ. When Jesus talks about the poor he simply means personalities, just as when he talks about the rich he simply means people who have not developed their personalities. Jesus moved in a community that allowed the accumulation of private property just as ours does, and the gospel that he preached was not that in such a community it is an advantage for a man to live on scanty, unwholesome food, to wear ragged, unwholesome clothes, to sleep in horrid, unwholesome dwellings, and a disadvantage for a man to live under healthy, pleasant, and decent conditions. Such a view would have been wrong there and then, and would, of course, be still more wrong now and in England; for as man moves northward the material necessities of life become of more vital importance, and our society is infinitely more complex, and displays far greater extremes of luxury and pauperism than any society of the antique world. What Jesus meant, was this. He said to man, ‘You have a wonderful personality. Develop it. Be yourself. Don’t imagine that your perfection lies in accumulating or possessing external things. Your affection is inside of you. If only you could realise that, you would not want to be rich. Ordinary riches can be stolen from a man. Real riches cannot.

There is only one class in the community that thinks more about money than the rich, and that is the poor

Socialism annihilates family life, for instance. With the abolition of private property, marriage in its present form must disappear. This is part of the programme. Individualism accepts this and makes it fine. It converts the abolition of legal restraint into a form of freedom that will help the full development of personality, and make the love of man and woman more wonderful, more beautiful, and more ennobling.

For what are called criminals nowadays are not criminals at all. Starvation, and not sin, is the parent of modern crime. That indeed is the reason why our criminals are, as a class, so absolutely uninteresting from any psychological point of view. They are not marvellous Macbeths and terrible Vautrins. They are merely what ordinary, respectable, commonplace people would be if they had not got enough to eat.

And as I have mentioned the word labour, I cannot help saying that a great deal of nonsense is being written and talked nowadays about the dignity of manual labour. There is nothing necessarily dignified about manual labour at all, and most of it is absolutely degrading. It is mentally and morally injurious to man to do anything in which he does not find pleasure, and many forms of labour are quite pleasureless activities, and should be regarded as such. To sweep a slushy crossing for eight hours, on a day when the east wind is blowing is a disgusting occupation. To sweep it with mental, moral, or physical dignity seems to me to be impossible. To sweep it with joy would be appalling. Man is made for something better than disturbing dirt. All work of that kind should be done by a machine. And I have no doubt that it will be so.

All unintellectual labour, all monotonous, dull labour, all labour that deals with dreadful things, and involves unpleasant conditions, must be done by machinery. Machinery must work for us in coal mines, and do all sanitary services, and be the stoker of steamers, and clean the streets, and run messages on wet days, and do anything that is tedious or distressing. At present machinery competes against man. Under proper conditions machinery will serve man. There is no doubt at all that this is the future of machinery, and just as trees grow while the country gentleman is asleep, so while Humanity will be amusing itself, or enjoying cultivated leisure—which, and not labour, is the aim of man—or making beautiful things, or reading beautiful things, or simply contemplating the world with admiration and delight, machinery will be doing all the necessary and unpleasant work. The fact is, that civilisation requires slaves. The Greeks were quite right there. Unless there are slaves to do the ugly, horrible, uninteresting work, culture and contemplation become almost impossible. Human slavery is wrong, insecure, and demoralising. On mechanical slavery, on the slavery of the machine, the future of the world depends

Now Art should never try to be popular. The public should try to make itself artistic. There is a very wide difference. If a man of science were told that the results of his experiments, and the conclusions that he arrived at, should be of such a character that they would not upset the received popular notions on the subject, or disturb popular prejudice, or hurt the sensibilities of people who knew nothing about science; if a philosopher were told that he had a perfect right to speculate in the highest spheres of thought, provided that he arrived at the same conclusions as were held by those who had never thought in any sphere at all—well, nowadays the man of science and the philosopher would be considerably amused.

When they say a work is grossly unintelligible, they mean that the artist has said or made a beautiful thing that is new; when they describe a work as grossly immoral, they mean that the artist has said or made a beautiful thing that is true. The former expression has reference to style; the latter to subject-matter. But they probably use the words very vaguely, as an ordinary mob will use ready-made paving-stones.

It was a fatal day when the public discovered that the pen is mightier than the paving-stone, and can be made as offensive as the brickbat. They at once sought for the journalist, found him, developed him, and made him their industrious and well-paid servant. It is greatly to be regretted, for both their sakes. Behind the barricade there may be much that is noble and heroic. But what is there behind the leading-article but prejudice, stupidity, cant, and twaddle? And when these four are joined together they make a terrible force, and constitute the new authority. In old days men had the rack. Now they have the press. That is an improvement certainly. But still it is very bad, and wrong, and demoralising. Somebody—was it Burke?—called journalism the fourth estate. That was true at the time, no doubt. But at the present moment it really is the only estate. It has eaten up the other three. The Lords Temporal say nothing, the Lords Spiritual have nothing to say, and the House of Commons has nothing to say and says it. We are dominated by Journalism.

For an educated person’s ideas of Art are drawn naturally from what Art has been, whereas the new work of art is beautiful by being what Art has never been.

One who is an Emperor and King may stoop down to pick up a brush for a painter, but when the democracy stoops down it is merely to throw mud. And yet the democracy have not so far to stoop as the emperor. In fact, when they want to throw mud they have not to stoop at all.

It will, of course, be said that such a scheme as is set forth here is quite unpractical, and goes against human nature. This is perfectly true. It is unpractical, and it goes against human nature. This is why it is worth carrying out, and that is why one proposes it.

Wilde slipping into ruts of thought – the lure of the bon mot:

The error of Louis XIV. was that he thought human nature would always be the same. The result of his error was the French Revolution. It was an admirable result. All the results of the mistakes of governments are quite admirable.

…duty, which merely means doing what other people want because they want it.

Or a man is called selfish if he lives in the manner that seems to him most suitable for the full realisation of his own personality; if, in fact, the primary aim of his life is self-development. But this is the way in which everyone should live. Selfishness is not living as one wishes to live, it is asking others to live as one wishes to live. And unselfishness is letting other people’s lives alone, not interfering with them.

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“Blake’s London: the Topographic Sublime” by Iain Sinclair

The text of a lecture given at Swedenborg House in Bloomsbury, beautifully published by the Swedenborg Archive.
Sinclair ranges across territory familiar to those who’ve met his writing before: a historical sense of London very much rooted in place, in particular the East End and the huge changes wrought there by the arrival of the Olympics. In this lecture he discusses Blake: where he lived in London, the various walks he described, and (at the end) the barrier of the Thames between the very different north and south – quoting another writer’s describing London as like Buda-Pest. Another focus is Blake’s route in Jerusalem from Highgate (the ancient entrance to the city, on the old route of the north road) round to Hackney, “Stratford’s old Ford”, and the Isle of Dogs. Sinclair suggests that the old ford is in fact Old Ford, the ancient lowest ford on the Lea, the road to East Anglia, and on the border between Saxon and Danish England. There’s also much (interesting) personal reminiscence from Sinclair, especially of his time with Ginsberg in the 60s, and how both were inspired by a then-resurgent Blake, as well as a fascinating account of Blake’s, Defoe’s and Bunyan’s graves in Bunhill Fields.
When we get to Sinclair on the Olympics, I get into difficulties. I share his anger at the destruction of an ancient and beautiful landscape, and at the corporate blandness which has replaced it, but not angry enough to go on a demo or write to my MP: London has always moved on and changed, and Sinclair does acknowledge that part at least of what he feels is (merely?) the conservatism of the old. The landscape he loves / loved was itself sculpted by Londoners, and the empty stadia will soon (in London time) be replaced.

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The success of Jesus and Socrates

Jesus and Socrates are standard examples of being counter-cultural, of teaching the unpalatable, of advocating unacceptable behaviour, of giving explanations which oppose those of their societies: “The Sabbath was made man, not man for the Sabbath”, “pray for those who hate you”, “no one sins knowingly”, “harming someone does them no actual damage, but rather damages the person doing the harming”.
Yet the facts that their teachings have survived, that many followed and follow them, show at the very least that there is an appetite for the ‘unacceptable’, even among those who do not put these teachings into practice. At the heart of ‘conventional’ attitudes is a place reserved for an alternative, respected but not practised.

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I Believe in Father Christmas

The story goes that some Japanese businessmen wanted to decorate their shopping centre for the Christmas season, so they sent researchers to the UK to get some ideas. Some time later the shopping centre opened with great razzmatazz, and the assembled crowds were greeted with the sight, on the outer wall of the complex, of a giant Father Christmas nailed to a cross. People don’t usually confuse the two Christmas figures of Jesus and Santa, but I’m going to.
There’s more that links them. Santa is used as a stick and (literally, alongside a glass of brandy) as a carrot to improve behaviour in the young (‘he’s gonna find out who’s naughty or nice’), as is God for older people. Santa’s rewards are deferred within the few months of a child’s horizon; God’s to the horizon of death.
Although belief in Father Christmas is used as a standard example of a childish belief easily shed as we get older, belief in him is just as childish, and just as rational, as belief in God. And also, conversely, belief in God is just as childish, and just as rational, as belief in Father Christmas.
Greg Lake’s song I Believe in Father Christmas uses loss of faith in Father Christmas as a symbol of loss of faith in Christianity, made explicit in ”till I believed in the Israelite’. (In that way it shares with Blake’s Jerusalem the honour of being a song happily sung to celebrate the very thing it seeks to undermine.) Here’s the whole song:

They said there’ll be snow at Christmas
They said there’ll be peace on earth
But instead it just kept on raining
A veil of tears for the virgin’s birth
I remember one Christmas morning
A winters light and a distant choir
And the peal of a bell and that Christmas tree smell
And their eyes full of tinsel and fire

They sold me a dream of Christmas
They sold me a silent night
And they told me a fairy story
’till I believed in the Israelite
And I believed in Father Christmas
And I looked at the sky with excited eyes
’till I woke with a yawn in the first light of dawn
And I saw him and through his disguise

I wish you a hopeful Christmas
I wish you a brave new year
All anguish pain and sadness
Leave your heart and let your road be clear
They said there’ll be snow at Christmas
They said there’ll be peace on earth
Hallelujah noel be it heaven or hell
The Christmas you get you deserve

So how can I believe in Father Christmas? It’s hard not to, if I believe in Jesus. Both stories convey human truth. Belief in Santa accords perfectly with the worldview of a small child: most of what happens in their world operates outside the natural laws of grown-ups, so there’s nothing difficult or bizarre about the nice old chap in Coca-Cola red who delivers presents across the world. And the story of Jesus, a defenceless underclass baby containing the potential of the cosmos, is a perfect one for giving grown-ups hope.
Aidan Andrew Dun said that the world is not made of atoms, but of stories. He is making the same point as Sherlock Holmes, when he angrily scolds Watson for telling him that the earth revolves around the sun. Geocentricity and atoms may be true and real, but they are of no importance to our daily lives; stories on the other hand directly inform our minute-by-minute existence of trafficking power, love and ideas with our fellows. And, in another sense, even geocentricity and atoms are only comprehensible to us as stories. Don Cupitt rightly argues that any philosophy worth anything has to start from, and be based in, our ordinary lives.

The Christmas we get we deserve.

I wish you a hopeful Christmas.

God comes to grown-ups in the form of a story about a Christmas baby; and to infants as a story about a jolly chap with a sack. Both are true.

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The Shawshank Redemption

Why is this a bad film? Because it’s not true to life. The goodies are unrelentingly good, so it’s sentimental, and the baddies all bad, so it’s brutalised. Typical moronic box-office desperation: crank up the violence to make ’em feel bad, crank up the sentiment to make ’em feel that redemptive-thingy, like when Truman sails his yacht through the paper sky.

It’s not ALL bad: when Dufresne plays The Magic Flute through the tannoy, grown men feel their eyes prick. And it’s good when Red gets released. But Warden Norton’s unnecessary suicide, Hadley’s unmitigating angry sadism, and Morgan Freeman’s calm Dumbledore trick wore me out. They’re all working too HARD.

I haven’t read Stephen King’s book, but might have suspected the hand behind the film: the clever plotting and extreme unpleasantness UNredeemed by any genuine humanity.

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