Ripple Effects

Paris: The Latin Quarter

Solution to Arti’s Cryptic Challenge #3: Paris

It was pure serendipity that I’d picked a hotel right in The Latin Quarter. At the time of my booking I wasn’t aware of so culturally rich a Parisian sector I’d be staying, and with many attractions on my list within walking distance. The Latin Quarter derived its name from the fact that Latin was widely spoken in the area during Medieval time. This has been the academic and literary part of Paris, and remains so today. Bookstores are everywhere, almost all in French though, many specializing in philosophy.

Our hotel is situated right across from the Sorbonne, Universite de Paris. Unfortunately it was closed during the summer months, the guard at the gate making sure people stay out, so I did not get a chance to go inside or browse in their bookstore.

The Panthéon is also located in The Latin Quarter, about a 15 minutes walk from where we stayed. It is the burial site of several renowned intellectual and literary figures of France, including Voltaire, Rousseau, Hugo, Zola, Pierre and Marie Curie:

Not just as a memorial ground, the Latin Quarter is a vibrant sector where writers, intellectuals and academics congregate, meet each other to engage in discourses over coffee or a glass of wine. Here is a restaurant where Camus and Sartre were among its prominent patrons, now a tourist point of interest on the map, Le Brasserie Balzar:

Heading down rue St. Jacques from Balzar, I walked towards the River Seine. I could see from afar the Notre Dame:

But I wasn’t going to make my way across just yet, for I’ve found the number one item on my must-see list situated on this side of the Seine, the Left Bank, and that was the legendary bookstore-library, Shakespeare and Company:

On November 17, 1919, American expatriate Sylvia Beach opened the English language bookstore-library in Paris, and turned the page in literary history. Beach was not merely a bookseller, but a multi-faceted literary personality, a writer and a subject for other writers, the publisher of James Joyce’s Ulysses in 1922, the proprietor of a literary hub that welcomed expatriate writers to mingle, read, write and stay. In one of her many literary parties she introduced F. Scott Fitzgerald to James Joyce, the former was too intimidated to approach Joyce himself. Many icons of the ‘Lost Generation’ had been affiliated with the literary hang-out, including Hemingway, Gertrude Stein, Ezra Pound, to name a few. Click here for a historic photo of Beach and Joyce in front of Shakespeare and Company.

Hemingway and some of the ‘Lost Generation’ found on the walls of the bookstore:

Closed down during WWII, the new owner George Whitman, another American expat and a friend of Beach’s, re-opened its doors in 1951 in the present location on the Left Bank of the Seine. Now in his 90’s, Whitman has stood by his commitment not to sell his little bookstore to developers, and kept the tradition alive: a sanctuary for writers. For almost 60 years now, Whitman, himself a writer and a poet, has offered lodging and writing opportunities to countless aspiring souls. The bookstore is now run by daughter Sylvia Beach Whitman. According to its website, Shakespeare and Company has served more than 50,000 heads on the pillows of its 13 bed facilities for free, accommodating such literary figures as Henry Miller, Anais Nin, Lawrence Durrell, and Alan Ginsberg. Click here for a personal account of what it’s like staying at Shakespeare and Company, and some house rules.

A mementos from Lawrence Durrell:

Upholding the spirit of hospitality:

Typewriter for use, tradition alive and well:

Some impromptu music-making:

Just last week, even the editor of the New York Times has declared the inevitable, that the print version of the New York Times will end some time in the future. Under the sweeping torrents of eBooks and ePublishing, seems like independent bookstores are fighting an uphill, if not a losing, battle. I wish the Whitman family well in standing strong against the tide. From a little bookshop-library, it has stayed true to its tradition, and by so doing, gained a spot on the historic map of Paris. In 2006, Whitman was honoured by the French Minister of Culture with the Order of Arts and Letters. More than just a point of interest for tourists, Shakespeare and Company has now become a cultural institution that just, hopefully, might not be so easily demolished to make way for new development along the Seine.

Click here to read an interesting article and personal interview with George Whitman from Bloomberg, yes, Bloomberg.

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Bath’s Persuasion

Solution to Arti’s Cryptic Challenge #2: Bath

From London’s Paddington Station we took the 90 minute train ride to Bath Spa, saving us half the time than with the bus. The City of Bath is a UNESCO World Heritage Site. Its magnificent Roman Baths and stylish Georgian streets and architecture make this a wonderful gem for tourists. The first time I visited there was in December, 2007. For a more general overview of the beauty of Bath you can find my two previous posts here and here.

In this revisit, I was a more intentional traveller. I let Austen’s Persuasion be my guide. With a detailed street map of Bath in my hand, I went exploring the places mentioned in the novel, coincidentally, many of them I missed in my last visit.

“I was not so much changed…” was Anne Elliot’s words to Captain Wentworth upon seeing him eight years after turning him down. The termination of their relationship was not her own intention, but duty had driven her to yield to Lady Russell’s persuasion. It would have been a “throw-away” for Anne at 19 to engage with “a young man who had nothing but himself to recommend him, and no hopes of attaining affluence, … uncertain profession, and no connections.” (p. 20)

But the star-crossed lovers are granted the bliss of a second chance, and rightly grab it this time. Austen’s setting of Bath in the book is no coincidence. The Georgian City was the centre of fashion and the epitome of genteel society, a hotbed of social phenom for the critic and satirist in Austen. Jane had lived in Bath herself for four years, 1801 – 1805, with her sister Cassandra and their parents. Ironically, she was unpersuaded by its attractions according to her biographer Claire Tomalin.

Austen aptly uses Bath’s addresses for the purpose of her characterization. Geographical location is everything in a class-conscious society, as Keiko Parker’s excellent article Jane Austen’s Use of Bath in Persuasion points out.

First off, there’s the Pump Room, where in Jane Austen’s days people socialized and met one another, gathered to drink the therapeutic water, catch the latest fashion, simply to see and be seen. The magnificent structure and decor makes The Pump Room a fine restaurant now:

Despite its grand decor, the areas around the baths are residences for the common folks in Austen’s time. Mrs. Smith, the poor, infirmed widow with whom Anne maintains a loyal friendship, lives in the Westgate Buildings close to the Baths. Anne becomes a laughing stock for the snobbish Sir Walter when he hears of her least favourite daughter is determined to visit Mrs. Smith instead of accepting an invitation to Lady Dalrymple’s, someone belonging to the upper echelon of society:

“Miss Anne Elliot, you have the most extraordinary taste! Everything that revolts other people, low company, paltry rooms, foul air, disgusting associations, are inviting to you.” (p. 113)

Today, the open area outside the Pump Room by the Roman Baths is perhaps the most popular tourist gathering place. Tour buses stop at the Bath Abbey for pick up and drop off, buskers perform in the open space outside the Roman Baths and Pump Room:

Nearby is Sally Lunn’s Bun, originated in 1680 by a young French refugee, in the oldest house of Bath, ca. 1482. Now a restaurant on top with the cellar a museum that houses the original kitchen and cookwares, Sally Lunn’s serves this traditional creation: a large, soft, round bun that can go with just about anything. But probably best like this, simply with garlic butter:

The beautiful street corner outside Sally Lunn’s:

Further up the town, there’s Milsom Street, a vibrant commercial area of shops and businesses. The first time Anne saw Captain Wentworth again in Bath was on Milsom Street. Here’s a present day view of the same site:

As for Sir Walter himself, despite having to rent out his country mansion Kellynch Hall to avoid financial ruins, he has no intention that his retreat to Bath should compromise his status and comfort. It’s only natural that others are curious: “What part of Bath do you think they’ll settle in?” The answer is quite obvious: the part that is befitting their social standing. According to Keiko Parker’s insightful article, physical elevation in Bath directly corresponds to social standing. The highest point at that time would have to be Camden Place, which is today’s Camden Crescent. While I was looking for it, the ‘Ye Old Farmhouse Pub’ was mentioned to me as the marker. I was glad to find it while walking up Landsdown Road, for it was indeed quite an uphill walk.

“Sir Walter had taken a very good house in Camden Place, a lofty, dignified situation, such as becomes a man of consequence; and both he and Elizabeth were settled there, much to their satisfaction.

Anne entered it with a sinking heart, anticipating an imprisonment of many months…” (p. 98)

Just typical Austen, the overt contrast of characters using something indirect, here, the sense of place.

The houses on Camden Crescent has unobstructive view of lower Bath. They are not grand mansions, but then again, location is everything. The following are some of the houses found on this road across from the escarpment:

And where do Sir Walter’s tenants Admiral and Mrs. Croft lodge during their short stay in Bath? On Gay Street, not too high, not too low: “… perfectly to Sir Walter’s satisfaction. He was not at all ashamed of the acquaintance, and did, in fact, think and talk a great deal more about the Admiral than the Admiral ever thought or talked about him.” (p. 121)

Elizabeth is not even half as kind as her vain and snobbish father. Regarding the Crofts’ arrival in Bath, she suggests to Sir Walter that “We had better leave the Crofts to find their own level.” (p. 120)

In contrast, Anne has a good impression of the Admiral and his dear wife, the kind and down-to-earth couple, Mrs. Croft being the sister of Captain Wentworth having minimal bearing on Anne’s fondness of them. During their sojourn in Bath to mend a gouty Admiral Croft, Anne enjoys watching them strolling together, “it was a most attractive picture of happiness to her.” (p. 121)

So I’m just not a bit surprised to see their temporary lodging in Bath being on Gay Street. Who else had lived there? Jane Austen herself: #25 to be exact:

As for a suitable place for socializing, Sir Walter and his favourite daughter Elizabeth choose the Upper Assembly Rooms, a much newer development closer to their upper, more fashionable side of town, although he would prefer entertaining in private which is even more prestigious.

The Assembly Rooms are a magnificent architectural legacy in their own rights. Designed by John Wood the Younger, who raised the £20,000 needed for the venture, the ground-breaking project began in 1769 and opened for public use in 1771. It was the biggest investment in a single building in 18th Century Bath. Four public rooms made up the suite: The Octagon, Ball Room, Card Room, and Tea Room.

“Sir Walter, his two daughters, and Mrs, Clay, were the earliest of all their party at the rooms in the evening; and as Lady Dalrymple must be waited for, they took their station by one of the fires in the Octagon Room (p. 131).

Here’s the exquisite Octagon Room:

Regarding the chandelier, there’s this interesting account in The Authorised Guide (p.7):

“On 15 August 1771 Jonathan Collett quoted £400 for supplying five cut-glass chandeliers for the Ball Room. They were up in time for the opening of the Rooms in September, but the following month disaster struck when ‘one of the arms of the chandilers in the Ballroom fell down during the time the company was dancing, narrowly missing Gainsborough. What could be salvaged from the set was made up into a single chandelier, which now hangs in the Octagon.”

I was just simply amazed at how long these chandeliers had lasted, well over 300 years, and in excellent shape. Their brilliance had not faded, evolving first from candlelight, then to gas, and now electric:

Anne and her party attend a music program in the Concert Hall. That’s a function in the Tea Room. Despite the name which seems to convey a small and cozy setting, the Tea Room is a gorgeous room of 60 ft. by 43 ft. dimension. On one end is a magnificent colonnade of the Ionic order. Subscription concerts are regular events held in the Tea Room. Mozart and Haydn had written compositions to be performed there, with Haydn himself having graced the magnificent venue.

But what does Anne Elliot think about all the grandeur? After earlier in the Octagon Room talking with Captain Wentworth, who has openly expressed his long-held passion for her, Anne, overwhelmed by a great flood of euphoria, now walks into the Concert Room (Tea Room):

“Anne saw nothing, thought nothing of the brilliancy of the room. Her happiness was from within. Her eyes were bright, and her cheeks glowed; but she knew nothing about it. She was thinking only of the last half hour…” (p. 134)

As a visitor to the historic venue, I was captivated by the well-maintained interior and its elegance, and presently amused and surprised to find this display in between two columns: The Chair, which is mentioned several times in Persuasion. The Bath Chair was invented right here in the Georgian City to transport the rich and the sick. It could be steered by the passenger:

Jane might have noticed the frivolity and seen through the façade of high society of her time, and sharply depicted her observations in her brilliant novels, but as a modern day tourist and Janeite, I’m just amazed at how well history has been preserved, and that all these locations and life had been experienced by Jane herself. She might have the burden of society on her, which ironically had inspired and unleashed her talents, but for me, a present day tourist and reader of her works, I am totally persuaded that Bath is a place I will definitely revisit some more in the future.

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References:

1. Jane Austen: A Life by Claire Tomalin, Penguin Books, 2000.

2. Persuasion by Jane Austen, The Modern Library Classics, Introduction by Amy Bloom, Modern Library Paperback Edition, 2001.

3. The Authorised Guide: The Assembly Rooms, Bath. Published by the Heritage Services division of Bath and North East Somerset Council in association with the National Trust. Written by Oliver Garnett and Patricia Dunlop.

4. “What Part of Bath Do You Think They Will Settle In?”: Jane Austen’s Use of Bath in Persuasion by Keiko Parker. Retrieved Online http://www.jasna.org/persuasions/printed/number23/parker.pdf

Tate Modern and Billy Elliot

Solution to Arti’s Cryptic Challenge #1: London… don’t mind the gap.

When time is short, you must select and forego. The Tate Modern has long been on my ‘must-see’ list yet unfulfilled. So for the short stay I had in London, I chose this one above all else. Five years ago, my then 15 year-0ld son went to visit and wrote in his email back to me: ‘Tate Modern is brilliant.’ This time I got to see it first hand.

If a museum of modern art can wow a teenager, there must be something in there that links the gap. And was I disappointed? Yes and no. No because it was brilliant indeed, both the conceptual design, architecture and the exhibits. And yes, because I was so preoccupied with the directions getting there from our hotel that I forgot my camera. No excuse for that, I know. And what makes it worse, the museum allows photography even of its exhibits. In my utter disappointment, my now 20 year-old said to me calmly, ‘you just have to make do.’ That I did with my iPhone.

The Tate Modern was converted into a modern art museum from an obsolete power plant on the south bank of the River Thames. The idea itself is brilliant. What better use of a derelict power station along the beautiful Thames? Used to be a gloomy stretch of land by the river bank, now the whole area, the Southbank, is revitalized and is home to many London attractions, including the Shakespeare Globe Theatre, the Millennium Bridge, The London Eye, theatres and green, open space.

And thanks to Wikipedia Commons, I found the following photos. The Tate Modern viewed from the Millennium Bridge.

The Tate Modern was designed by the Swedish architects Jacques Herzog and Pierre de Meuron, the 2001 winner of the Pritzker Prize, the ‘Nobel Prize’ of architecture. Their concept of maintaining the industrial motif and juxtaposing it with the artistic is ingenious. Furthermore, they have turned the massive industrial space into a people space. The main entryway is named The Turbine Hall, allowing people to fill the massive vacuum that was once associated with a power plant. The huge area also makes display of larger pieces of exhibits possible. Now they are doing it again, yet another redesigning, an even more amazing remodelling and addition, all for the 2012 Olympics Summer Games in London.

Two streams of thoughts constantly ran through my mind during this trip. One was the dichotomy of ‘High Art’ and ‘Public Art’, ‘high culture’ and ‘popular culture’. Does such a rift still exist? All the galleries and museums I visited were all flooded with people. It was hard to take a picture without any heads caught in the frame. So every photo I took was immediate. I had to wait for people to move away and snap the moment quickly. In the Turbine Hall at the Tate Modern, I saw families with young children, many pushing baby carriages, kids doing cartwheels on the huge floor space.

Is it still ‘high art’ if the exhibits are free to the public, a destination for family outing? As a rock concert ticket can cost hundreds of dollars… now does that re-define the ‘high’ in culture? Is it still ‘high art’ if people can get in free, as with the Tate Modern collection, enjoy what they see, gasp at the possibilities, or be bewildered by a notion conveyed through an artwork? Do we need to ‘understand’ art in order to enjoy it? Maybe we should just allow the object of art to speak for itself, and thereby, linking the gaps between us.

Here are a few exhibits I took with my iPhone. Please do click on the link of each piece to see the good photos at the Tate Modern website and an explanation. I was gratified to see works from some of my favourite artists in their original.

Metamorphosis of Narcissus by Salvadore Dali, the work that changed Freud’s original negative view of Surrealist art. In the painting, you’re supposed to see Narcissus on a pedestal in the background, then kneeling by the fatal pond, and lastly transformed into a flower… and what a self-absorbed egghead he was:

Man with a Newspaper (1928) by René Magritte (1898-1967), under the section ‘Poetry and Dream’. These are supposedly four different perspectives … mmm … , but hey, this is Magritte speaking. His dead pan surrealist style is regarded as a subtle form of social critique.

And here are a few other interesting works. Polish artist Magdalena Abakanowicz’s ‘Anti-form’ sculpture which she created during the 1960’s Soviet-occupation of Warsaw, another example of the freeing effect of art and the social statement they subtly convey:

Untitled sculpture with wood and wool by Jannis Kounellis, homage to Jackson Pollock’s drip painting:

I like this work of open books, but don’t remember the artist or the name of it. With the fast emergence of eBooks, this work could soon become an antique artifact:

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The second event I chose was to see ‘Billy Elliot The Musical’. I liked the movie a lot, appreciating the depth of conflicts which touch on the same dichotomy: ‘High Culture’ and ‘Mass Culture’, and the seeming incompatibility of art and life. A miner’s son in a blue collar neighbourhood is attracted to the beauty of the ballet, and the freeing energy of dance.

The conflict persists starkly as the political backdrop of the miners’ strike turns ugly in the 1984-85 years. While their livelihood is at stake, and as the miners determine to pose the fiercest strike action against the Thatcher government, where does ballet come in? It sounds trivial and even surreal to think of ballet compared to the major battles raging in the country. But this is also a conflict between the individual and the masses, the individual and, yes, even the family.

Billy’s new-found love and immense talent ultimately melt the heart of his macho father and older brother, and soon those in the mining community. He is given the chance to audition for the National Ballet School, with the local miners raising funds to support his cause.

The movie allows more in-depth exploration of internal conflicts while as a musical, the focus has shifted to the dance performance, the music, and for crowd appeal, some Monty Python style romp com, mellow-dramatic scenes, and many exaggerated, stereotypical expressions and language choices. I’m afraid it looks like a contrived way to bring the ‘high’ down to the ‘common’ level. Elton John’s music while lively, seems lacking in variety and depth compared to his other works and those in the Andrew Lloyld Webber tradition.

Performed on the London stage since 2005 and still going strong, ‘Billy Elliot the Musical’ is directed by Stephen Daldry, lyrics and book by Lee Hall. It has won both the Lawrence Olivier Awards in England and the Tony Awards in the US. It went on Broadway in 2008, and on the main stages in several other countries. The night I went the role Billy Elliot was performed by 12 year-0ld Rhys Yeomans, and he was marvellous, both as actor and dancer. He practically carried the whole show on his young shoulders, singing, acting, and dancing in superb style, energy, and versatility. The role of Michael, Billy’s friend, was done animatedly by another 12-year-old, Reece Barrett. The boys’ performance were the main attractions for me.

In the middle of the show however, the performance was interrupted by a technical difficulty. It was no minor glitch. We had to wait in our seat for around 15 minutes before performance resumed. Now that had discounted some of my enjoyment. And when the show started again, a scene was skipped. But overall, it was quite an experience at the Victoria Theatre in London. A good choice I still think considering the limited time I had in London.

A Late Summer Hiatus

As the holidays draw to an end ever so quickly, and before I take off for a couple of weeks to recharge, it’s time to take stock and wrap up for the summer of 2010.

After watching 56 films in two months as a previewer for an upcoming international film festival, I don’t miss the cineplex for this summer’s offering. Yes, I’ve seen Inception. And no, I didn’t dream that I saw it… although I remember waking up a couple of times. Anyway, its effect on me is quite similar to Avatar‘s, something I wouldn’t rave about except just say: ‘Been there, done that’. The Girl With The Dragon Tattoo may well be the best summer movies in my opinion.

As for books, I’ve read a few, not a long list, but enough to keep me busy, relaxed, informed, and inspired. I’m glad I’ve discovered Tim Keller, pastor of the vibrant Redeemer Presbyterian Church of Manhattan. His Reason For God has restored hope in me that it’s possible to embrace both faith and reason. Seldom have I come across such an intellectual and sensible approach to the seeming dichotomy.

I must also mention Somewhere Inside: One Sister’s Captivity In North Korea and the Other’s Fight to Bring Her Home by Laura and Lisa Ling. The book is a riveting account of journalist Laura Ling’s harrowing ordeal as a captive of the North Korean regime, and her remarkable release back to freedom together with her translator Euna Lee. A testament of hope, resilience, the power of love, and the humanity we all share. An absorbing read, well told inside out.

Also, Bellezza’s Japanese Literature Challenge 4 has really done its job. For it was a challenge indeed reading Kenzaburo Oe’s Rouse Up O Young Men of the New Age! Another more leisurely but no less intense work is Kazuo Ishiguro’s Never Let Me Go. I’ve purposely delayed posting about it until I’ve seen its movie adaptation coming out in September. I’m looking forward to the film version, with Carey Mulligan as Kathy, Keira Knightly as Ruth, and Andrew Garfield (our new Spider-Man) as Tommy. That would be for my commitment to C. B. James’s Read the Book/See the Movie Challenge over at Ready When You Are, C.B.

So now, my two weeks of late summer hiatus. Just for fun, here’s Arti’s Cryptic Challenge… some hints as to where I’ll be in the next little while … and most likely what you’ll see posted on Ripple Effects comes September.

1. Don’t mind the gap: risky when boarding, but good pointer for parenting.

2. “I am not yet so much changed…” Upon this re-visit, I don’t expect much change either, for it has kept quite the same for hundreds of years.

3. From “Lost Generation” to “Beat Generation”, Beach to Whitman, it has much to offer other than curb appeal.

4. And finally, this little clip on YouTube is my best prep:

Enjoy what’s left of your summer. I’ll be happy to hear from you about your summer reads, movies, and wrap-up. Feel free to leave your comments here and I’ll try to read and reply them whenever I find a free WiFi hot spot.

Rouse Up O Young Men of the New Age!

Thanks to Bellezza’s Japanese Literature Challenge 4, I have the chance to explore the intricate world of Kenzaburo Oe (pronounced ‘oh-ay’, 大江健三郎 ), Japan’s second Nobel Laureate for Literature (1994), after Yasunari Kawabata (川端康成) received the Prize in 1968.

Like his earlier work A Personal Matter*, Rouse Up O Young Men of the New Age! is an autobiographical novel dealing with the author’s experiences of raising a handicapped child. A Personal Matter was written when Oe was young, describing an ordeal still raw from the initial shock of the birth of his brain-damaged child. Rouse Up was published in 1983, almost twenty years after A Personal Matter.

Rouse Up chronicles a more mature protagonist, the writer K, who has gone past the stage of denial and escape, to come to terms with the reality of fathering a handicapped child. Through the arduous journey, the writer has gained insights and pleasure from his relationship with his son Hikari, whom he nicknamed Eeyore in his novels.

Oe starts off the book with K’s plan to write a dictionary of terms for his now maturing son, to prepare him for his entry into the real, adult world. This turns out to be a learning task in itself. How do you explain to a brain-damaged person what the word ‘foot’ means? Or ‘river’, ‘life’, or ‘death’? He needs to deconstruct the realities of his everyday life before he can grasp the essence and meaning of his encounters.

It’s interesting to see how K get through to his son in defining ‘foot’. Eeyore understands it in relation to ‘gout’ from which his father once suffered. After the healing of the pain and swelling of the gout, it has turned into ‘a nice foot’. So, the understanding of ‘foot’ comes in light of the pain it had experienced. K soon realizes that the definitions are more for himself as for Eeyore.

The author’s long journey of acceptance and self-discovery owes mostly to his love for the works of William Blake. Rouse Up is a smorgasbord of selections if you are a Blake scholar. So admittedly, I have had a hard time ploughing through Oe’s use of parallels from Blake’s poetic and artistic symbolisms to reflect on his own predicament. In certain parts, Oe’s writing is just as esoteric as Blake’s mythical depictions. However, one thing is clear. My enjoyment of this novel is no less, and the poignancy of a father-son relationship no weaker as I find my way through the Blake maze. The book requires and deserves multiple reading.

Despite its complexity and denseness, the essence filters through Oe’s meticulous descriptions. Further, John Nathan’s translation navigates effectively through Oe’s nuanced and sensitive narratives. I’m just curious as to what the original Japanese version looks like since there are numerous references and quotes from Blake. Are they in English or in Japanese translation?

Two lines from The Four Zoas seem to have outlined K’s personal journey:

“That Man should Labour & sorrow & learn & forget, & return
To the dark valley whence he came to begin his labours anew.”

It’s a perpetual striving, not unlike Sisyphus’s effort, and yet still leads from one path to the next, prompting a renewed acceptance and offering novel discoveries on the way.

Aside from the esoteric passages of Blake’s visions, some very simple lines shine through, and they are the ones that are most moving for me:

… healing the rift with my son, I became aware of his grief through the agency of a Blake poem, “On Another’s Sorrow,” which includes this stanza:

Can I see a falling tear,
And not feel my sorrows share,
Can a father see his child,
Weep, nor be with sorrow fill’d.

One of the “Songs of Innocence,” the poem concludes with the following verse:

O! he gives to us his joy,
That our grief he may destroy
Till our grief is fled & gone
He doth sit by us and moan.

In his attempt to know more about Eeyore, K explores the power of dreams and the imagination. Using Blake’s mythological poetry and artwork, he tries to understand Eeyore’s internal world. Both he and his wife know Eeyore does not dream, but that does not preclude he does not have imagination.

Subscribing to Blake’s conviction that: “The Imagination is not a State: It is the Human Existence itself.”, K strives in earnest to cultivate Eeyore’s imagination. Eeyore has an almost instinctive response to bird calls, distinguishing them even before he adopts human language. As he grows older, he is drawn towards the music of Bach and Mozart. His imagination soon finds a channel of expression in composing, an amazing accomplishment nurtured by a highly supportive and loving family. In real life, Oe’s son Hikari is a composer.

Adopting Blake’s vision, K sees a future for father and son together in a state of grace, from Blake’s Jerusalem:

“Jesus replied Fear not Albion unless I die thou canst not live
But if I die I shall arise again & thou with me
This is friendship & Brotherhood without it Man is Not

So Jesus spoke! The Covering Cherub coming on in darkness
Overshadowed them & Jesus and Thus do Men in Eternity
One for another to put off by forgiveness, every sin.”

From coming to terms with the tragic reality of fathering a brain-damaged child, to ultimately, almost symbiotically, sharing his life with his son, is a process not short of a personal epiphany. At the end of the novel, Eyeore has grown to be a twenty-year-old man. While still having a limited mental capacity, Eeyore has his way of exuding his own humor, love and care for those around him. The story is a poignant tapestry weaving real-life and the visionary, through which an imagined world of reality is beautifully conceived.

As for the source of the book title, it comes as a moving episode at the end of the book. I should keep that for you to discover. A heart-warming finish to a poignant chronicle.

John Nathan’s Afterword is an eloquent tribute to the father, son, and the nurturing family. It is also a helpful annotation of the novel.

Rouse Up O Young Men of the New Age! by Kenzaburo Oe, translated by John Nathan, published by Grove Press, NY, 2002. 259 pages.

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* A touching review of A Personal Matter has been posted recently by Claire at Kiss A Cloud. Also, Mel U’s A Reading Life has posted extensively on Oe and other Japanese writers. Of course, there’s Bellezza at Dolce Bellezza, who has hosted Japanese Literature Challenge all these years, now in its fourth term. I thank them all for their inspiration.

eReaders, iPad, and Home Literacy

“If a cluttered desk is a sign of a cluttered mind, of what then, is an empty desk?” — Albert Einstein

eReaders and the iPad could well be the best house-cleaning appliances ever invented. All the clutter on your bookshelves, magazines and newspapers strewn everywhere, and even those ubiquitous household bills can all be swept under the eCarpet. Yes, even flyers, ads, and coupons, they are now online or in apps… and maps? Just bring your iPhone.

But wait, what’s with this study done by Dr. Mariah Evans, sociologist at the University of Nevada, Reno, recently published in the journal Research in Social Stratification and Mobility? According to its abstract, the study found that:

Children growing up in homes with many books get 3 years more schooling than children from bookless homes, independent of their parents’ education, occupation, and class.

Together with her colleagues at the University of Nevada, UCLA and Australian National University, Evans studied 70,000 children in 27 countries over a span of 20 years, one of the largest and most comprehensive studies ever conducted on what influences the level of education a child will attain. The difference between a bookless home and a home with 500 books amounts to an average of 3.2 years of further education. In China, the difference is 6.6 years.

As a sociologist, Dr. Evans is concerned with helping children of rural communities in Nevada to achieve higher education. Regardless of parents’ socio-economic and educational levels, the number of books at home is the single most significant correlate of educational attainment.

I know what’s on your mind… how many families have more than 500 books in their home. Well the idea is, the more the better:

Even a little bit goes a long way,” in terms of the number of books in a home. Having as few as 20 books in the home still has a significant impact on propelling a child to a higher level of education, and the more books you add, the greater the benefit.

You get a lot of ‘bang for your book’,” she said. “It’s quite a good return-on-investment in a time of scarce resources.

In an interview which is available on MP3, Evans explains:

When you have very highly educated parents, you still get some result of additional books in the home. But you get much more of what you might call ‘bang for your book’ for parents who have little education.

So now, back to our house-cleaning issue. How would home literacy be affected if more and more books are being swept away and stored in electronic devices and less and less on our shelves and strewn on the floor? Can the neat and tidy Kindle or iPad have the same effects as a real home library or ‘literacy mess’ for a child? Can 500 books in the eReader influence a child as much as 500 books around the home? Just some thoughts for future research.

You might ask what good do mere numbers do if you don’t use them. You can’t assume usage with presence, right? Well the question is, how can you use them if they are not around? Evans claimed that just having them there, and watching a parent read a book is significant enough. If you’re caught reading a book, you are reading a book. But if you’re caught using an iPad, you may not be reading, you could be shopping, checking your stocks, or playing video games.

As for usage, electronic gadgets tend to promote individualized activities. The traditional ways of using books just might not be as compatible with these devices, like the cuddly moments of mother and child sharing a book at bedtime (see those teeth marks on the board books), the intimacy between book and reader, the appreciation and touch, the joy their aesthetics could bring, the picking up of a pen or pencil and marking and doodling around the pages, the practice of real life literacy activities with them, both personal and communal. And oh, the pleasure of browsing in a bookstore and the excitement of looting in a book sale.

Further, home literacy is more than just books. I was involved in an ethnographic study on language learning several years ago. I spent hours in several homes of young children, observing their literacy environment. My observations included materials that could foster language development. I noted, other than books, alphabet magnets on the fridge, newspapers, magazines, calendars, recipes, personal notes, notice boards, TV guides, shopping lists, food packaging, flyers, coupons, and ‘junk mails’, any print materials exposing a child to words and writing. One parent I observed had purposely placed newspapers in the bathroom, making the printed word more accessible to her child. The rationale behind the study was that preschool children growing up in a home milieu rich in print materials are primed for language and literacy learning long before they even begin formal schooling.

With the arrivals of eBooks and eEverything else, printed matters are on the decline. Sure, it’s not all or nothing. Printed books will still be around. But with eBook sales now surpassing hard copies at Amazon, the trend is obvious. eReaders and iPads are definitely ingenious and convenient devices, but how would home literacy change with these gadgets? And, how would we change as a human reader? It’s not about holding on to the archaic or being a Luddite, it’s all about our future, our very human future.

Of course, I’d appreciate a clean house. But hey, please don’t touch that pile. I know exactly where to find what under which. Thanks.

***

*And, to satisfy your curiosity, how many families Evans found to have 500 or more books in their homes? In the U.S., 18%.

“Family scholarly culture and educational success: Books and schooling in 27 nations” by M. D. R. Evans, Jonathan Kelley, Joanna Sikora, and Donald J. Trelman. Published in Research In Social Stratification and Mobility, Volume 28, Issue 2, June 2010, Pages 171 – 197. Click Here to go to the article.

Bernini’s Corpus and Modern Movies

The Art Gallery of Ontario holds more than 79,000 items in its collection, from 100 A.D. to the present. I’d just seen a tiny fraction of them during the six hours I was there. But if I’m to say which one has stirred the most ripples, it would be the bronze sculpture by Bernini, Corpus (The Crucified Christ), ca. 1655.

Successor of Michelangelo, the Italian Baroque architect and artist Gian Lorenzo Bernini had produced many famous Papal works. I’m impressed by how contemporary this 17th C. sculpture looks with its silvery-bronze color and its minimalist styling. Further, I’m amazed that it has been in private hands all the years… Like you might hear at a party, “Oh, I just happen to own a Bernini.” Having been ‘lost’ and then ‘found’, the sculpture was last in the possession of the Frum family who donated it to the AGO in 2007, estimated value at that time was $50 million.

Murray Frum, real estate developer and philanthropist, had earlier donated an entire African art collection to the AGO. To the general public, probably the most well-known member of his family is his late wife who died of cancer in 1992, the prominent CBC news journalist Barbara Frum.

Unlike the other art works of the crucifix that I’ve seen, the Bernini Corpus has no cross. Its 5 foot 6 inches life-size body hung in midair, supported only at the base. There it is, right in the middle of the darkened gallery room displayed at eye-level, the suffering Christ suspended in silence. You can get near to the outstretched arms, you can see the loincloth blown to the side, and every minute detail on the body.

Without the backing of the cross, the image gives a weightier impression. You can go right up to the work, except of course you can’t touch it or take a picture, even though both were what I actually wanted to do… But at least, I could look and wonder in nearness.

The cruciform pose of Christ being hung on an invisible cross turns the literal event into a symbolic timelessness. The mere posture of two outstretched arms has long been associated with the essence of the cross: suffering, sacrifice, redemptive salvation. Such a visual icon has been used in many movies effectively. Whether you agree with the director’s message or parallel is another matter. Nonetheless, the archetypal cruciform pose is a powerful image when aptly embedded in a visual context.

Here are a few movies that I can think of where the cruciform pose vividly depicts a memorable moment. (Warning: The following section carries Spoilers.)

How Green Was My Valley (1941): John Ford’s visually contemplative work. When the shaft comes up from the underground mine carrying survivors of the explosion, you can see the rescuer Mr. Gruffydd in the cruciform pose. What’s more, you can even see the Pieta image:

Through a Glass Darkly (1961): Ingmar Bergman’s classic. The estranged father David stretching his arms out in front of the window, sobbing and seeking redemption through family relationship: Cool Hand Luke (1967): After eating 50 eggs, it’s enough suffering for Luke (Paul Newman), a determined radical fighting a callous system in a hopeless prison. His graceful form is a clear contrast to the stark surroundings: The Graduate (1967): Ben (Dustin Hoffman) cries from above: “Elaine! Elaine! Elaine! …” Which yearning heart would not respond to such a passionate cry and be delivered in the nick of time out of a loveless union: Dances With Wolves (1990): Only when you’re not afraid to die, then can you live. Lieutenant Dunbar (Kevin Costner) embraces death only to be ushered into a new life and adventure:

Shawshank Redemption (1994): Andy Dufresne (Tim Robbins) literally digs out a new path to salvation. This is the iconic scene of freedom and cleansing after climbing out from the sewage line: Superman Returns (2006): Superman (Brandon Routh) returning from Krypton to save the world. His famous line to Lois: “You wrote that the world doesn’t need a savior, but everyday I hear someone crying for one.” Gran Torino (2008): Walt Kowalski (Clint Eastwood) laying down his life to save his young friends from a neighborhood gang, in search of self-redemption: … I’m sure you can think of more.

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Related Posts you might enjoy:

Alex Colville and the Movies

The Art Gallery of Ontario

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Pussywillows, Cattails, Soft Winds and Roses

Took a short trip to Ontario last week and came home overwhelmed with nostalgia. It all started when I visited the town of Unionville and saw these, crowds and crowds of cattails growing profusely in the pond, the fields, by the footbridge:

For some inexplicable reasons, I’m much fond of cattails. The first time I learned about them was from listening to the song by Gordon Lightfoot… before I’d actually seen one.

Some time in the 70’s, for many afternoons I sat in the art room of a high school somewhere in Alberta, working on some art project, but mostly doing nothing at all while listening to Gordon Lightfoot. Mr. Hannington held a laissez faire art class… we could do just about anything, or nothing. Usually, there would only be three or four of us in the room. We would just sit around, chat, daydream, and immerse in the voice of Gordon Lightfoot on the radio.

I didn’t turn out to be an artist, while one of us did. But I’ve remained partial to cattails, mesmerized by the song and the singer. Those Lightfoot afternoons in the art room emerged from the depth of hazy memories, the lyrics were the soft winds caressing naked limbs as I walked in this natural reserve in Unionville.

Pussywillows, cat-tails, soft winds and roses
Rainpools in the woodland, water to my knees
Shivering, quivering, the warm breath of spring
Pussywillows, cat-tails, soft winds and roses

Catbirds and cornfields, daydreams together
Riding on the roadside the dust gets in your eyes
Reveling, disheveling the summer nights can bring
Pussywillows, cat-tails, soft winds and roses

Slanted rays and colored days, stark blue horizons
Naked limbs and wheatbins, hazy afternoons
Voicing, rejoicing the wine cups do bring
Pussywillows, cat-tails, soft winds and roses

Harsh nights and candlelights, woodfires a blazin’
Soft lips and fingertips resting in my soul
Treasuring, remembering, the promise of spring
Pussywillows, cat-tails, soft winds and roses

(To my artist friend CD: Keep the fire burning.)

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Art Gallery of Ontario

There are several interesting facts about the AGO. That it is situated in Toronto’s Chinatown is an example of the vibrant cultural mix an urban centre can sustain. And in multicultural Canada, that sits well indeed. These are the buildings right across from the front entrance of the AGO on Dundas Street:

On the upper floor of the building to the left, the four characters indicate it’s the “United Chinese Drama Society”. The main floor is a French Café. The building to the right is home to a Chinese clan association. And the barber shop below… oh, what does it matter.

And across the street, spanning one full block from Beverley to McCaul, adjacent the Ontario College of Art and Design is the Art Gallery of Ontario:

The AGO originally began as The Art Museum of Toronto in 1900. Its first home was The Grange, a Georgian Mansion built in 1817. The last hundred years saw several stages of expansion. In 2008, the Gallery received a major facelift. The prominent architect Frank Gehry brought the AGO into a new phase, and to finally contribute to the Canadian architectural landscape with his first design in Canada. And what an approparite choice. According to the AGO guide who led our tour, Gehry was born right here on this street some blocks away. He holds fond childhood memories of the area, particularly the AGO.

At the back, one can see the very postmodern juxtaposition of the old Georgian Mansion The Grange with the new Gehry-designed AGO:

But the outside does not prepare one for what is installed within. I was amazed many times over as I explored the gallery spaces. Photography was not allowed in the exhibits areas. So I’ve only captured the general interiors, and they are breathtaking, elegant and exquisite:

I love the contemporary light wood contours placed against the classical styling. The overall color scheme is soothing and relaxing, without the austerity of some art galleries and museums. Natural light is plentiful as it is let in through the glass ceiling. Light and shadows play out in an interesting way:

The central spiral stairwell is the main attraction. It is made of B.C. douglas fir, light, fluid, swirls gracefully down from the top. As I made my way down, every step I took offered me a new perspective. An inspiration in itself:

. .

And finally we were shown this magnificent design, right against the glass inside the front of the building:

Unlike Gehry’s other more showy works of bending metals, the AGO is decidedly unpretentious, curving wood against arches, blending nature with art, art with architecture, and architecture with an urban neighborhood.

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The Girl With The Dragon Tattoo: The Movie (2009)

Update Feb. 13: The Girl With the Dragon Tattoo just won BAFTA’s Best Film Not In The English Language.

Summertime… and the viewing is chilling.

By now, we North Americans have caught the blazing heat that had swept other parts of the world a few years back, as we get the English translation of the Millennium Trilogy: The Girl With The Dragon Tattoo, The Girl Who Played With Fire, and last of the series, The Girl Who Kicked The Hornets’ Nest. All three books dominate the New York Times Best Seller Lists: When I last checked, the first two novels occupied the first and second places on the Paperback Trade and Mass-Market Lists, the newly published third title quickly claimed its second place on the Hardcover List. The Trilogy has sold more than 27 million copies in 41 countries world wide.

It’s just too sad that the Swedish author did not get a taste of his own success. Stieg Larsson died in 2004 of a heart attack at 50. All three books were published posthumously. Before his fame as a writer and journalist, Larsson had championed against racism and right-wing extremism for decades.

Those who frequent Ripple Effects might know, I’m interested in the transforming of books into films. There are many instances where I would read the book first before seeing the movie. But here’s an exception. I’m glad I went into the movie theatre knowing nothing about the story. Because of that, I was held on the edge of my seat from beginning to end, my mind fully engaged, all 152 minutes of it.

The story begins with a high profile journalist with Stockholm’s Millennium Publication, Mikael Blomkvist (Michael Nyqvist), losing a libel suit brought on by a corrupt financial giant. Blomkvist is given half a year of freedom before serving a three-month jail term. Meanwhile, the reclusive industrial tycoon Henrik Vanger (Sven-Bertil Taube) approaches and hires the disgraced journalist to investigate the disappearance and likely murder of his beloved niece Harriet Vanger 40 years ago, a unique assignment that intrigues Blomkvist. Initially, Vanger has recruited Lisbeth Salander (Noomi Rapace), a ‘researcher’ with a security firm, to do a background check on Blomkvist. Lisbeth is in fact an expert hacker. Believing Blomkvist to be set up in the libel suit, she continues to track him, and the two finally meet up and join hands in search of the truth behind the disappearance of Harriet Vanger… and a bit more.

This is one engrossing and highly suspenseful piece of filmmaking in the crime thriller genre. First off, the cinematography and the overall visual tonality is reminiscent of film noir, setting the mood effectively. As well, the many Vermeer moments wherein the playout of light and shadows reflect aptly the complexity of the characters. The revealing of hidden facts and personal secrets drive the riveting momentum. Pacing is suitably executed. While it’s not your bullet-speed Bourne flick, it unfolds the story smoothly, allowing some real acting to take place. There are effective action sequences and some poignant moments. And yes, there are also scenes where the audience could well be aware that their emotions are being led towards an intended end. As witness of a violent crime against the heroine, the audience is pulled to a cathartic revenge, and feels okay with it. Herein lies the effectiveness of the film. Less obscure is the original Swedish title: “Men Who Hate Women”. So the warning is: graphic violence. But it’s not gratuitous and I have to say, only reveals the reality of how low and depraved human can be.

Another measure of success is how quickly the film has elicited my empathy and even compassion for the female protagonist. It can make an ear and nose-pierced, misanthropic, rage-wrapped goth to become the heroine within minutes into the film. This idea is original, iconoclastic, and timely too. It draws us from the surface of looks and attire into understanding one’s psyche, to see how past experiences mould a life. There are layers of truths to be understood if one is willing to go past the facade.

Condensing 600 some pages (Paperback) into 152 minutes must be an arduous task. A lot of details are bound to be put aside. But with every adaptation, the movie ought to be viewed as a totally different medium, and not be judged by how literal the transformation is. Turning words into visuals has always been the demanding job of the screenwriter but also the realization of a vision from the director. As a movie viewer, I’ve appreciated the work as a congruent whole, very well edited and all loose ends tied, even opening a tiny portal for the sequels coming up.

Shot entirely on location in Sweden, the work is an artful piece of filmmaking. The wintry Swedish landscape is a quiet visual relief for our hot summer months. The movie has garnered several noms and awards, most notably The Swedish Guldbagge Awards in Best Film for director Niels Arden Oplev and Best Actress for Noomi Rapace. It was also honored with the Audience Award at the Palm Springs IFF.

But will the movie and its two sequels gather as much hype as the novels? Here in English only North America, I’m afraid not, at least not with the Swedish versions. Here are the stats if you’re interested. Watching a movie with subtitles is much more common in other parts of the globe than here. Thus prompts Hollywood to plan for an English version. Well, is it language or profit?

My recommendation is: go for the Swedish one. See a film in its most authentic adaptation, Swedish setting, original language dialogues, and superb performance. Don’t let Hollywood distract you from the real thing. There have been rumors of Carey Mulligan, Natalie Portman, and Kristen Stewart taking the role as Lisbeth Salander, and Daniel Craig, Johnny Depp, Brad Pitt, and George Clooney as Blomkvist. Well, if they must make an English version, my picks for the leads are Ellen Page and Jeremy Renner.

But no matter what, the Swedish original is a hard act to follow. It’s now on DVD and Blu-ray. And if it’s still being shown in theatres in your area, nothing beats seeing a thriller on a sweltering summer day, or night, inside a cool, dark theatre.

~ ~ ~ 1/2 Ripples

Summertime… and the reading is easy

Since my TBR booklist has evolved into one gigantic beast preying to devour my fragile conscience, I’m feeling the burden of possession with every single book I acquire, be it only $1.50 or even free. While summer has officially slipped in, with all its alluring promises and freeing energy, I feel it’s time to confront the beast and with one resolve, slay it.

So, may I present herewith Arti’s Declaration of Independent Reading. It may not be self-evident to all that there exist certain unalienable rights for us book lovers yearning for emancipation. Allow me to use the collective pronoun here as I feel I just might not be the only one. Therefore, all ye under the bondage of your TBR beast, here are our claims:

Nonobligatory reading. Reading for the simple joy of the act, and not for any courses, profs, teachers, groups, bloggers or to appease that monstrous beast. We might have book challenges to meet, but they are our own choosing. Even if we have miles to go before we sleep, we go the miles to honor our own quest.
We hold the right to buy and not read, just for the satisfaction of owning a title. We deserve to be recognized for our contribution to the economy and the publishing industry. By our perpetual purchasing, we are supporting local and national businesses and the livelihood of many workers.
Freedom to follow our hearts in our book selections, and not the New York Times bestseller lists, Amazon’s recommendations, or Oprah’s earnest plea. No need to follow trends or don literary fashion. No need to challenge those titles simply because we are told to read before we die. Literary and the not-so-literary, classics or contemporary, all to our heart’s content.
Smorgasbord Reading. Our right to have more than one item on our plate, our right to read more than one book at a time. Fiction, non-fiction, bios or poetry, whatever that suits our palate at the moment.
Not to be discriminated against. As bookaholics, we will resist any attempt to be added to the pathological list of substance abuse, addictions, or to be forcefully admitted into any 12-step programs or obsessive-compulsive behavior therapy.
In the spirit of slow blogging, we hold the right to read slowly, to mull and chew, at our own pace without having to meet any quotas, numbers, or deadlines. Further, we have the right to reread a book or an author as many times as we want, and not be labelled as subversive, fanatics or cultic.
We have the liberty to stop reading, throw a book out the window, or honestly declare our dislike, if that’s our view. With this right, we keep our sanity intact, our discernment sharpened, our intelligence preserved.

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There. Now that’s off my chest, let me get back to my reading… or not.

oooh, summertime…

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Greening of a Calgary Street

April 23

May 23

June 23

Waiting

He could have said
Let there be life
As in the beginning
But He made me wait.
For three months
I went back to the same spot
and watched
slowly
green bursting out from bare branches
fighting storms and snow
into full bloom.

I had waited before
Nine years, nine months
He could have said
Let there be…
But He had made me wait
and watch
slowly
like time-lapse photography
the gestation of a miracle.
He could have just said,
But He made me wait
and watch.

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