July 2024 In Books: What I'm Reading

Thanks to anaemia, a traffic accident, and a broken glass bottle, I've been (in roughly equal measures) sulking and reading at home.

An African History of Africa: From the Dawn of Humanity to Independence
Zeinab Badawi

Cover of Zeinab Badawi:
An African History of Africa
Penguin Books

It's been energetically praised in the British press, and I am also charmed by this book, which I found at a bookshop near the Free University here in Berlin.

BBC World anchor Zeinab Badawi sets aside many of the piles of colonialist histories of (in the earlier chapters of her book) northern African countries, to expose the reading public to snippets of neglected knowledge about former kingdoms, leaders, and citizenries. She draws from modern experts and personal travel in nations like Egypt, Sudan, and Eritrea as much as she can, rather than relying on archives only.

It is also an 'alive' field of study: while ancient Egypt's dynasties are well charted, ancient sites of the kingdom of Kush in Sudan, and Adulis and Qohaito in Eritrea, are only partly excavated. There is much left to reveal itself.

Cover of Francisco Coloane: Feuerland
Unionsverlag

Feuerland (Tierra del Fuego (1956))
Francisco Coloane (tr. into German by Giò Waeckerlin Induni)

Like Jorge Luis Borges historical stories/essays, Coloane's collection of tales puts the reader back into the morally ambiguous, colonialist era – this time, in southernmost Chile.

Die untergehende Sonne ließ ebenfalls große Goldnuggets am Rand der Horizontpfanne zurück, goldene Kumuluswolken, mit denen die feuerländische Abenddämmerung ihre unablässig wechselnden Phantasmagorien entzündet.

('The setting sun left behind huge gold nuggets at the rim of the horizon's pan, golden cumulus clouds with which the Fuegian dusk was kindling its unceasingly changeful phantasmagorias.') 

The first tale touches on Romanian gold magnate Julius Popper, his mercenary army, and genocide of Ona Indigenous peoples; and the multifarious journeys of Europeans to South America. In inhabiting a men's world, it is rather like Hemingway. But perhaps it is more philosophical.

It's impossible not to picture the landscapes, birds, and animals that Coloane portrays in so much detail, in my mind's eye – no matter how ignorant I was of Patagonia going in.

Coloane experienced popularity abroad in the 1990s, and the Unionsverlag hardcover copy of Feuerland that I am reading was printed during that time.

"Patagonian landscape with single tree before night sky" (1832)
Eduard von Buchan (1800-1876)
Wikimedia Commons

The Hidden History of Burma: Race, Capitalism, and the Crisis of Democracy in the 21st Century
Thant Myint-U

A descendant of a United Nations Secretary-General, raised in the United States but drawn into Burma/Myanmar at various epochs in the 1990s through to the present, Thant Myint-U has written not just a scholarly examination of the country's history.

Cover of Thant Myint-U: The Hidden History of Burma
W. W. Norton

He also gives a journalist's insights into life stories of Burmese people who have fallen prey to external and internal social, political, and economic developments; as well as a diplomat's insights into international and national machinations.

It would be too crude to state without qualification that the path to hell is paved with good intentions: the intentions of a few Burmese governments, of Aung San Suu Kyi, of the U.S. government, of the United Nations, ... But, with more nuance, this phenomenon is at least one leading thread in Burma/Myanmar's recent history.

I'm listening to the audiobook recording.

***

Letters and Journals of Lord Byron, Vol. II (1830)
Thomas Moore, ed.

Inspired by a seminar I'm in about the Greek Revolution of 1821, which had led the English poet to travel to the mainland north of the Peloponnese, I looked up Lord Byron in Google Books. There I found a very "warts and all" compendium of letters, journal extracts, book passages by Byron's partner Teresa Guiccioli, and commentary from Thomas Moore (who had been Byron's friend), published 6 years after Byron died of fever.

"The Reception of Lord Byron at Missolonghi" (1861)
Theodoros Vryzakis (1814-1878)
Wikimedia Commons

...This is more of a rant than a review. I will start by apologizing to the above authors for inadvertently grouping together their works with Byron's. Secondly, because people often feel injured by what they consider 'cancel culture,' I'll emphasize that I don't judge the many readers who appreciate Byron's poems on their own merits.

So:

First of all, this is not news, but: he was not a considerate romantic or sexual partner. He chatters incessantly about his 'conquests' to his male friends in his letters, underlining how little respect he has for these women. In 21st-century terminology: toxic masculinity leaks from every page.

Secondly, Byron keeps lying to himself and others about his intentions:

To give one example, he got rid of his illegitimate daughter Allegra in a convent school.

It was supposedly a good school. But she became 'peculiarly quiet' according to visitors who'd known her before, and she died from a fever there at the age of 5. Claire Clairmont, her mother, was inconsolable.

He had made a big deal in letters to friends about how noble he was, nobler than that atheist Percy Bysshe Shelley (who'd by all accounts been kind to Allegra), for wanting his daughter to grow up religiously and 'purely' ... Not that he'd ever put his money where his mouth is, and tried to be properly 'religious' or 'pure' himself.

Thirdly, he's hugely catty about Leigh Hunt, John William Polidori, and others. Part of it can be explained, I suppose, by his being bisexual but not wholly self-accepting.

But the worst passage so far is a letter to Sir Walter Scott, in January 1822:

I need not say how grateful I am for your letter, but I must own my ingratitude in not having written to you again long ago. […] I can only account for it on the same principle of tremulous anxiety with which one sometimes makes love to a beautiful woman of our own degree, with whom one is enamoured in good earnest; whereas, we attack a fresh-coloured housemaid without (I speak, of course, of earlier times) any sentimental remorse or mitigation of our virtuous purpose.

I think a few years of imprisonment might have helped, and I certainly hope no one will excuse him on the grounds of being 'misunderstood.'

***

Also reading:

Auf der Reise im Dazwischen (Austria, poetry) by Omar Kir Alanam
The New Jim Crow: Mass Incarceration in the Age of Colorblindness (United States, nonfiction) by Michelle Alexander

June 2024 in Books: What I'm Reading... by Chekhov

Progress has been made in a 1970s Penguin Classics paperback of Chekhov's Lady with Lapdog and Other Stories: I read "The House with an Attic (An Artist's Story)," translated by David Magarshack, today.

I. I. Shishkin and A. V. Gine in the Studio on the Valaam Island (1860)
by Ivan Shishkin (1831–1898). Wikimedia Commons.

One day [...] I found myself by sheer chance on an estate I had never been to before. The sun was already low on the horizon and the evening shadows lay over the flowering rye. Two rows of very tall, solidly planted old fir trees stood like solid walls, forming a beautiful dark avenue.

***

Chekhov's short story recounts an episode in the life of a cynical artist. The artist, the narrator of the tale and not in an omniscient sense, is renting a house in the countryside. There he gets to know a family of three women: the mother Yekaterina Pavlova, the elder daughter Lydia, and the younger daughter Zhenya.

Lydia is occupied with charitable works: teaching, providing medical care, and lending books. The artist squabbles with her: according to him, she is merely greasing the wheels of a homicidal system that condemns poor Russians to overly long working hours, which permit them no time to enjoy the fruits of education, and will make them sick anyway.

In Front of the Mirror (1870)
by Ivan Shishkin. Wikimedia Commons.

I asked myself while reading if Lydia herself is attracted to the artist. Is she even more irritated that he does not fall in with her views, because her political principles force her to see an obstacle between them because of that? Is the artist also interested, but finds her 'too difficult'? I suspect it, but perhaps Chekhov didn't intend it – then either it's a subconscious subtext, or I am wrong. Perhaps the author sees Lydia's intention exactly as the artist interprets it: she thinks that she needs to punish the artist for his views, which get in the way of her labour.

At any rate, the artist falls for Zhenya. As Zhenya is only 17 years old, and portrayed as naive rather than well-informed and independent for her age, I winced while reading.

She longed for me to introduce her into the sphere of the eternal and the beautiful, into that higher world in which, as she imagined, I was quite at home

In the passage where he describes Zhenya's body as "unformed," the artist seems himself to feel a line has been crossed, albeit not in a legal or criminal sense given customs and legislation of the time. The story was published in 1896, and Chekhov died in 1904.

Corner of overgrown garden. Ground elder (1884)
by Ivan Shishkin. Wikimedia Commons.

It's the second story of Chekhov's I've read where his characters self-reflect ambiguously about what 20th century sociological theorists might call the 'male gaze.'

(In the short story Ariadne, he writes about a young Muscovite who is dismayed at the thought of treating partnerships as pairing together heterosexual couples regardless of liking or character or any other factor. Another character, who conducts an adulterous affair with the titular Ariadne, just thinks that any woman is fair game if he's attracted to her: no deep feelings, thoughts, or sentiments needed.)

APPARENTLY Chekhov's stories were often not so much 'inspired by' as directly based on his own life and people he knew. Which sounds dangerous, but as his stories appeared in magazines and Russians in his circles read and reacted to them, he seemed to be fine risking a fist to the face from a disgruntled acquaintance.

Given that garden-variety gossip arguably informed his plotting, it isn't clear to me: was he trying to make a deeper point about Lydia's character here? or can we just understand "The House with an Attic" as a straightforward narrative drawn from real-life experiences of 1. debating how to improve the Russian society of his time, and 2. finding a love that escapes?

THE PROTAGONIST'S ASSERTIONS about sociopolitics seem largely unreasonable, with veins of the reasonable. Of course everyone is prone to exaggerate due to the heat of debate, or because they lack direct illustrations and examples. Chekhov was a doctor, but/so it's hard to believe that the author agrees with every word:

Lydia asks,

But you also deny the usefulness of medicine, don't you?

The artist replies,

Yes. [...] Do away with the main cause of disease, physical labour, and and there will be no more diseases. 

*

I like the poignant ambivalence when Chekhov leaves hopeful loose threads in his stories – to be continued – for his characters, instead of plunging into an impressive but gloomy dead end.

A Forest (1890s)
by Ivan Shishkin. Wikimedia Commons.

April 2024 In Books: What I'm Reading

The Leipzig Book Fair ran last weekend, and I'd intended to read Dutch and Flemish books before then. I didn't, much, but picked up music scores from German publishers.

Before, I'd dropped into a Polish-German bookstore in the Berlin areas of Kreuzberg/Neukölln. The bookshelves were full of books I might want to read and hadn't read yet. NoViolet Bulawayo's Glory and Olga Tokarczuk's Flights, for example. Zimbabwe's Bulawayo I'd heard about on YouTube, and Polish writer Olga Tokarczuk's prose was so good when I read an excerpt from Drive Your Plow Over the Bones of the Dead that it has been on my mental list to read more.

Before that, I'd watched the 4 episodes of the literary Canada Reads 2024 competition on the Canadian Broadcasting Corporation's YouTube channel.

Jessica Johns's fantasy-thriller book Bad Cree was available in the Berlin bookshop just after I heard of it on Canada Reads.

Courtesy of ECW Press

But the first Canadian book I want to finish is Denison Avenue by Christina Wong and Daniel Innes. So far it is one of the best books that I have read in years.

After those, I hope to read The Future by Catherine Leroux or Shut Up You're Pretty by Téa Mutonji.

***

In multimedia:

MIT's OpenCourseWare programme's self-guided English literature course of study on the medieval epic Beowulf, based on 2023 lectures for undergraduates. MIT has published lecture videos, reading lists, and other useful material on its website and on YouTube. It begins with a crash course in Anglo-Saxon grammar. I highly recommend it.

The Wonderful Story of Henry Sugar, Roald Dahl's strange short story that left me wondering if it was fact or fiction (but I never tried seeing through a pack of cards, as it felt like too much trouble especially if it would likely only prove that I was gullible) when I was a child, has been adapted into a film by Wes Anderson. Breaking the fourth wall, the film weaves in Ralph Fiennes as Roald Dahl, the narrator. It is available on Netflix, and has won an Academy Award.

Spring Scenes in: The Ugly Duckling

As Berlin breaks out of the winter stasis at its customary slow pace, I wanted to celebrate spring with seasonal classics.

"Maiabend im Tieftal - Erfurt" (1885)
by Emil Zschimmer (1842-1917)
via Wikimedia Commons

William Wordsworth's famous poem "To a Daffodil" has already appeared in this blog. So, moving on to the next inspiration, I browsed translations of Hans Christian Andersen's fairy tales to find springtime scenes.

***

The "The Ugly Ducking" (1843) (which is famous enough that it requires no synopsis) has a lovely description of spring. It's an analogy of the Ugly Duckling's winter of discontent turning into glorious summer.

It would be very sad, were I to relate all the misery and privations which the poor little duckling endured during the hard winter; but when it had passed, he found himself lying one morning in a moor, amongst the rushes. 

He felt the warm sun shining, and heard the lark singing, and saw that all around was beautiful spring. 

Then the young bird felt that his wings were strong, as he flapped them against his sides, and rose high into the air. 

They bore him onwards, until he found himself in a large garden, before he well knew how it had happened. The apple-trees were in full blossom, and the fragrant elders bent their long green branches down to the stream which wound round a smooth lawn. Everything looked beautiful, in the freshness of early spring. 

From a thicket close by came three beautiful white swans, rustling their feathers, and swimming lightly over the smooth water.

From: Hans Andersen's Fairy Tales. Mrs. H. B. Paull, transl. London/New York: Warne & Co., 1888.
[Wikisource, but I've changed the paragraph structure]

(English translations differ strongly in their translation of 'elders.' 'Lilacs' and 'syringas' appear in other editions published before the First World War. These seem to be the correct translation. 'Syringa' is the Latin genus name for 'lilac.')

***

Men det vilde blive altfor bedrøveligt at fortælle al den Nød og Elendighed, den maatte prøve i den haarde Vinter – – den laae i Mosen mellem Rørene, da Solen igjen begyndte at skinne varmt; Lærkerne sang – det var deiligt Foraar.

Da løftede den paa eengang sine Vinger, de bruste stærkere end før og bare den kraftigt afsted; og før den ret vidste det, var den i en stor Have, hvor Æbletræerne stode i Blomster, hvor Sirenerne duftede og hang paa de lange, grønne Grene lige ned imod de bugtede Canaler! O her var saa deiligt, saa foraarsfriskt! og lige foran, ud af Tykningen, kom tre deilige, hvide Svaner; de bruste med Fjerene og fløde saa let paa Vandet. 

— Hans Christian Andersen. "Den grimme Ælling" (1843) [Wikisource]

Illustration from Brockhaus and Efron Encyclopedic Dictionary (1890—1907)
via Wikimedia Commons

 

January 2024 in Books: What I'm Reading

As December ended, I tried to finish as many books as I could before New Year's:

Ken Krimstein's graphic novel about The Three Escapes of Hannah Arendt, for example. It instilled an appetite for Weimar Republic-era philosophy that I haven't yet followed up on. It had a few moments of the perfervid enthusiasm of a Dead Poets' Society, but either way it is very well done.

My uncle also gave me Berenberg's German-English edition of Eliot Weinberger's poem Die Sterne. Interspersed with Franziska Neubert's illustrations of starry patterns, which nod I think to Weinberger's cross-cultural approach to star lore and remind me of Islamic art (at least, modern Islamic art) that eschews depicting people, it is a soothing read.

It's also happily tying in with a hardcover edition, with picturesque gilt-edged leaves, of Jean Menzies's collection of English retellings of ancient Greek myth: Greek Myths: Gods and Goddesses. Which was a present, too, from a British former teammate.

Chekhov's Lady with a Lapdog and Other Stories are proving harder to read, just because they aren't very cheerful. But it is impressive again to consider how a man who didn't see his 50th birthday was able to write with so much observation, at such a stylistically sophisticated level, about such a large range of characters.

*

Aside from that, I read The Light of Days by Judy Batalion in a young readers' edition.

It extols young Polish Jewish women who fought Nazis as well as the Jewish police in the cities, towns and villages in the early 1940s. Incredibly grim as the events are, I was impressed the author pulled through the writing and research.

It's also a more morally ambiguous book than I think the author realizes. She cheerfully describes the deaths of Nazis, or (in some cases) the attacks on Jewish police who have been detailed at the coercion of German authorities to round up fellow Jews, as if she were a World War I-era Briton talking about 'potting the Huns.'

Whereas at other times, Nazis, Germans who aren't Nazis, Polish people, and Jewish police help Jewish civilians to escape, even at great personal risk.

Did grenades, bullets, lightbulbs filled with acid, etc., always hit the oppressor instead of the helper? 

I think it was more complex for the Jewish fighters to kill others than the book relates. Likely Batalion's research would have dug up evidence, if there had been any, of PTSD or feelings of guilt related specifically to guerrilla warfare. But I'm not sure if all Holocaust survivors would have been open about having these feelings.

I grew up around my grandparents' deep, war-related queasiness around weaponry. None of them, of course, were Holocaust survivors. Still, their attitude reinforced for me that people who knew best knew guns and their use, saw these as a serious, grim thing. In a limited context, guns can determine who dies and survives; as a broader response to violence, I am not sure they resolve anything as intended.

*

The next book once The Light of Days was finished: We Had a Little Real Estate Problem, a book on First Nations, Native Americans, and stand-up comedy by the Canadian author Kliph Nesteroff.

Carollers and Wind in the Willows

"Badger by C. E. Swan
(Meles taxus syn. Meles meles)"
From: The wild beasts of the world (1909)
by Frank Finn
via Wikimedia Commons

The Wind in the Willows first appeared in print in 1908. It's a beloved children's classic since then — I suspect that a plot summary isn't needed! Even aside from the books with Ernest H. Shephard's (or Arthur Rackham's, or...) illustrations, its legacy lives on in other ways.

My family watched the 1980s British stop motion animated series on Canadian television in the 1990s, and still sometimes hum the theme song from memory.

Mouse knitting
From: Appley Dapply's Nursery Rhymes (1917)
by Beatrix Potter
via Wikimedia Commons

The Wind in the Willows's Christmas passages, atmospheric and pleasingly English, have also inspired composer Audrey Snyder to arrange a musical setting of the Carol. It is sung by choirs at Christmas under the title "Joy on Christmas Morning." (For example: [YouTube].)

***

It was a pretty sight, and a seasonable one, that met their eyes when they flung the door open. In the fore-court, lit by the dim rays of a horn lantern, some eight or ten little fieldmice stood in a semicircle, red worsted comforters round their throats, their fore-paws thrust deep into their pockets, their feet jigging for warmth. With bright beady eyes they glanced shyly at each other, sniggering a little, sniffing and applying coat-sleeves a good deal. As the door opened, one of the elder ones that carried the lantern was just saying, 'Now then, one, two, three!' and forthwith their shrill little voices uprose on the air, singing one of the old-time carols that their forefathers composed in fields that were fallow and held by frost, or when snow-bound in chimney corners, and handed down to be sung in the miry street to lamp-lit windows at Yule-time.

    CAROL

Villagers all, this frosty tide,

Let your doors swing open wide,

Though wind may follow, and snow beside,

Yet draw us in by your fire to bide;

Joy shall be yours in the morning! 

 

Here we stand in the cold and the sleet,

Blowing fingers and stamping feet,

Come from far away you to greet

—You by the fire and we in the street—

Bidding you joy in the morning! 

 

For ere one half of the night was gone,

Sudden a star has led us on,

Raining bliss and benison

—Bliss to-morrow and more anon,

Joy for every morning! 

 

Goodman Joseph toiled through the snow—

Saw the star o'er a stable low;

Mary she might not further go—

Welcome thatch, and litter below!

Joy was hers in the morning! 

 

And then they heard the angels tell

'Who were the first to cry NOWELL?

Animals all, as it befell,

In the stable where they did dwell!

Joy shall be theirs in the morning!'

"Belgian winter landscape" (19th century)
by Louis-Pierre Verwee
via Wikimedia Commons

 

The voices ceased, the singers, bashful but smiling, exchanged sidelong glances, and silence succeeded—but for a moment only. Then, from up above and far away, down the tunnel they had so lately travelled was borne to their ears in a faint musical hum the sound of distant bells ringing a joyful and clangorous peal.  

Source: The Wind in the Willows, by Kenneth Grahame [Project Gutenberg Australia]

A 15th-Century Storke Carol

"The Storke" is as far as I know not well known in Canada, the United States, or indeed in the United Kingdom where it was written in the 15th century.

But it was set to music by the Canadian conductor Ernest MacMillan around 1927. I heard it in a recording from the late 1990s, by the Canadian choral group Elmer Iseler Singers in their album Noël: Early Canadian Christmas Music / Music canadienne d'antan pour Noël.

MacMillan had been captured in Germany during World War I, as he was visiting Bayreuth when the war broke out, and interned in Ruhleben. He would only return home in 1919.

"De arte venandi cum avibus"
13th cent. Creator unknown.
via Wikimedia Commons

According to Clifford Ford's liner notes for the album, MacMillan's interest in an old poem reflected a general "revival of English folk songs" during the first half of the 20th century. (The earliest edition of "The Storke" as a poem I found on Google Books was from ~1914.) Ford adds, referring also to a song "I Sing of a Maiden,"

The original tunes for these carols have not survived, but MacMillan's vocal lines, sensitive accompaniments, and metrical shifts to accommodate textual accents, produce two charming settings reminiscent of Vaughan Williams.

In the UK, Donald Swann, who himself had an adventurous life, picked up the poem a generation later and set it to music in Sing Round the Year (1968).

Both settings can be found on YouTube.

***

The Storke

1. The storke shee rose on Christmas-eve,
And sayed unto her brood,
I nowe must fare to Bethleem
To view the Sonne of God.

2. Shee gave to ache his dole of mete,
She stowed them fayrlie in,
And farre shee flew And fast she flew,
And came to Bethleem.

3. Nowe where is He of David, line?
She askd at house and halle.
He is not here, They spake hardlye,
But in the Maungier stalle.

4. Shee found hym in the maungier stalle.
With that most Holye Babye,
The gentyle storke shee wept to see
The Lord so rudelye layde.

5. Then from her pauntynge brest shee pluckd
The fethers whyte and warm;
Shee strawed them in the Maungier bed
To kepe the Lord from harm.

6. Nowe blessed bee the gentle storke
For evermore, Quothe Hee,
For that shee saw my sadde estate
And showed such Pytye.

(7. Full welkum shall shee ever bee
In hamlet and in halle,
And hight henceforth The blessed Byrd,
And friend of Babyes alle.)

"Stork (detail of a tapestry)." 1550s.
Artist unknown - City of Brussels.
via Wikimedia Commons