This is the day the unaccountable resurrection is to unfold. Sorrow has made its presence raw and real as contemplative voices console each other as a life treasured as any other has been taken violently on the orders of a fearful people. Those palpable sorrows of a life taken are to unfold from the silence.
Is it the silence of a recognition that our world has the given prosthesis we have the gift of seeing. Silence is often mysterious as we observe but do not converse. No mind has found words. No meeting of minds, or is that it, the silence is the key to our unity. Words can be written to record otherwise, at the birth of Easter a Passover is null. There will be an absence of consensus on the present as the pasts cruelty to Mary’s and Joseph’s Son is an entanglement of conflicts.
Joseph the mere witness to the itinerant birth then the closure of a mans life. As I see it, his part was actively pressing the gift of self onto as he became aware of the journey Jesus was free to take. They, Joseph and Mary, had understood Jesus to become the messenger of essential truth. Joseph. Is he that active silence? That forbearance in the face of intangible events as truth is unfolding?
Forgiveness for those who took away by crucifixion, Jesus of Nazareth, is a scale yet to balance. It shall arise as this is Gods promise as we journey on our given life to see the life for what it is. A short small part of the community of God living in perpetuities from life to life.
Where answers lie is in the confines of our gift of life and the expression can only be made with all all the will in the world having the reinstatement of those words and Gods sacrifice to make different this malice divisions show.
This title is a starting point. I’ve chosen it as it speaks of the anticipation of looking at the new exhibition by Ursula Burke, ‘A False Dawn’. The word anticipation is our expectation ahead of time. On 31 May 2020 plans were to close the exhibition here in limbo. While we consider time and second waves there is alteration in our vision and it is not only the wounded concerning us but those who have tragically lost their lives in the outbreak of Covid 19. Despite our experiences in the face of a plague it is human nature to consider the methods we employ to understand it and the wider dangers everyday life has in store. By no means a reflection but a catalyst for thought this exhibition currently hidden away from us speaks of many things.
The introductory title photograph I took and titled to head this essay is obviously showing the Lockdown confinement of the exterior that hides (in March/April/May 2020) the exhibition lying behind the 5th floor Upper Gallery wall.
Inside, on the other side, the drip painting lies behind. The wall suddenly becomes a current edition of the angry it leaps from. This present protection the enclosure provides, shields the new work, creating an extraordinary sense of the present as its original conceptual form centuries ago is reinterpreted somewhere we cannot experience in the intended installation. The prescience is un-calculated but if anything, maybe in the mould of prophethising is shockingly realised and the prophet being here, Ursula Burke.
On the 5th level of the Ulster Museum, traditionally the Art being the highest entry to the confines of ours and the museums strata of telling discovery. Augury is a word Ursula Burke fastens onto and it’s emblematic place in the sculpture sends us in several directions. The repurposed fresco with birds is resonant of several contexts across a longer period of time.
In the Artist statement this is said – “Often, I take a Northern Irish context as a critical point of departure from which to generalise my approach outwards to international concerns.”
This work takes in some pieces from previous exhibitions that lend their heft to this particular ascribed process. The following text from those earlier exhibitions, in part description, shows the process of thought employed by Ursula Burke.
“A large proportion of my work at present is made using Parian porcelain, a hard paste porcelain that is famed for emulating Parian marble, the substance used for carving many of the Greek and Roman sculptures from antiquity. Even though Parian is extremely hard after firing, the nature of the material exudes a kind of softness and elasticity, (almost fleshy) which at the same time formally emulates the characteristics of marble. In content, the reference to the classical period that the work allows enables me to make a conceptual bridge between idealised versions of society much in debate during the classical period and the necessity for continually suspended versions of the ideal within a post-conflict society. Northern Ireland as a region is consistently working towards peace; persistently speaking and striving to move towards an indeterminate point in the future where real, meaningful and lasting peace between tribal communities has been realized. The schism between idealized forms of civil society and consistently suspended versions of the ideal in post conflict society is at the heart of this work.” From the troublesarchive.com Art of the Troubles, The Ulster Museum Belfast, 2014; Arafudo Art Annual, Fukushima, Japan 2014; March & June Mostra, British School at Rome, 2014; Spazi Aperti, Romanian Academy, Rome, 2014; Hope for a Better Past, The MAC, Belfast, 2013 & Instances of Agreement, Kao Yuan Art Centre, Taiwan, 2011. They resonate again here.
The vision here It summons up a thought process on life as seen though the past as a vision of the future. Called ‘A False Dawn’ it supposes also a negative position maybe where we are at, but it covers a lot of ground. The past is seen in the referencing spatial sense of the original fresco and it in part a reconstruction of. It also is a gathering of violence against the person, posing in an array of mediums the entry to the debating chamber, meeting places to discuss differences and forge policies of unity an opposite prevails into the present day and beyond.
The work seems to presuppose the history of humans default to former patterns that negatives will ensue. Far from obvious are the immemorial themes point to the wasteful oblique way we see the environs and world we live in and all its inhabitants. These only appear with scrutiny of the ‘fresco’ with images contained within it. Some local and as I alluded to the wall takes on more genus loci with the wall having in the view hidden our ‘Parliment’ a few miles out the other side having, and it’s very probable Ursula Burke had that symbolic an immovable part of our reckoning or at least a fixture of it.
Further on here I will refer to other works that seek to use art as the countenance for or own debates.
There is a reaction to repression of every kind here in the work and at its core is the politically ardent will that caught out post war worlds. Reconciliation is never over. After these ancient inherent human abstract relations pattern in nature survives beyond us. Made as each are in that miracle of combinations that under the microscope only retain pattern and forms of symmetry our abstract world is incurable evident.
The Italian fresco is a beginning but the core is the restlessness borne of dreadful pain mirrored in the apathy with which fine art beguilingly transports us towards as some judgement or acceptance of the absurd.
Fight with flight The birds are the only animals seen in the exhibition and they figure in the settled full wall perch of the blue diagraphic take on enterprise. The glory of a fresco is simulated in the form of a testing pseudo deterioration by strands of dripped bud paint, speckled distempered plaster. The appearance is less fecund than any original fresco but holds an arresting scale in the soft light of the Gallery. It is based on the Villa of Livia which has been restored at the Palazzo Massimo in Rome which is, in this iteration, a bit like the https://www.atelier-lumieres.com/en/home Van Gogh simulator without the colour intensity.
The villa was abandoned in the 5th century AD, and subsequently pillaged and looted for antiquities. In 1863, the famous statue of Augustus of Prima Porta was discovered on the site, as well as the birds and trees frescoes in an underground dining area. These were moved to museums in the city to conserve them.
The deterioration as depicted here is arrested and an arresting state of compromise for our satiated souls. Reclaiming it with this mural effect is taking the visitor into a world that is outside the former and is evoking through the use of the flightless birds sorrowful dripping tears of paint and the abundance of natural things an anotherness we cannot see. It goes beyond us. To this Ursula Burke brings a presence of mankind’s intervention and confinement. In today’s compromised world it has wild connections. Nowhere will there be a more relevant juxtaposition in Art installation. The terracotta wilderness is the only comparable example of these themes as this has advanced new infinite interpretations.
The terracotta wilderness of the former is obliterated by the intensity of a blue landscape with grid mesh patterns and inserts of hand held lenses capturing a circle of place, Carson’s Statue or The Stormont Mile. We are pulled into the wilderness of our transmuted political lives.
The allegories may be there but the tonal qualities of the former fresco as a vehicle are explored as an effect less intensely or otherworldly here as Ursula Burke realises her ‘Augury of the Birds.’ The Villa of Livia is the original title and this alternative is extending the reach of the original due to its pastiche allegory of a beautiful location, even garden of Eden. … “La Villa di Livia a Prima Porta da praedium suburbanum a villa Caesarum”.
The place here, it’s genus loci, is compared to this former mythical imagining which itself is captured in its frozen fall from perpetuity and is a relic of another view of the world. The meaning is placed in either location to be one where we aspire to flourish beyond expectations held across the fence in the fresco. “Livia had a fresco painted on the walls which reproduced the nature outside. In fact there are several types of trees, and there are also 69 different types of birds, like those found in the woods around the villa,” said Biondi.
Other Portraits That illusion is not far from in both the former and Ursula Burke’s own latest interpretation here, one perceived by the Artist know as the old man of Modern Literature, one James Joyce, whose eyesight, with another ironic twist of fate in this context, was about a tenth of normal sight and therefore he was unable to invest in the visual much other than an observant contempt-or, while being in the opposite a master of the language lingual he contritely put a verse to this connection –
Buy a book in brown paper From Faber and Faber To see Annie Liffey trip, tumble and caper. Sevensinns in her singthings, Plurabelle on her prose Seashell ebb music wayriver she flows.
His book was of the two shores of the Liffey, on the harbour of people, the brown paper bag the admission it was censored and contained connections with Finnegans Wake..
Not the enigma poetry expected but a blunt instrument of a sales pitch. This is itself a play with words as you are invited to enter a tributary of life where the rawness and morality is cast in metaphors of the rivers proximity to us. The river is carrying away our thoughts. The changes in the tidal flow are stilled only by the momentary galina.
‘What he was doing was leaving a literary ghost mark for a world that was unprepared for it. Anna is both woman and river and “her fluvial maids of honour”, from all corners of the world, constitute 350 river names.’ Edna O’Brien.
This is the same wilderness an author felt able to enter and express while H.G.Wells, Nabokov, DH Lawrence, thought the less of it, TS Eliot was along with Samuel Beckett no stranger to its strangeness as ‘Anna Livia Plurabelle’ became a morality tale of the river as the conscious being, once entered you cannot return to join in the same place again. The essay by Edna O’Brien is simply a testament to that works genius. bit.ly.2uuHOrI
Bleakness lies before the precious and it is not recreational, recreation is a simile after all and it is an escape while being present. What appears is the thought Ursula Burke is in contest with the world as seen. That she attests to other consciousnesses and parts and gives here a very formative tale to investigate. Along with Joyce she is a companion to the diversity and is gathering in throwing porcelain of her own concepts in bruised and battered allegories which for a long time have proven solid and robust conquests of authorative voice.
The wonderful new book by Colm McCann ‘Apeirogon’ which he snatches a story of combatants he met as lives witnessed in the Middle East to convey the union of ordinary people through the common loss of a child, is illustrated in physical existing metaphors wherein the entry points A,B,C, in the occupied areas are under surveillance of drones cameras and watchtowers the lines of movement that must be adhered to. Gate A is to a Palestinian area, it is illegal for Israelis to enter it. There reasons might be collaboration and assistance? Gate B is to an Israeli held area which Palestinians can enter with adherence to the areas rules as they provide services to the area. Gate C is a settlement occupied only by Israelis. Only Israelis are allowed in. This is the real manifestation of a global human malaise. To take it to another level is the containment of the rooms, a truth, an encounter then a reflection. The broad scope is a problematic one in this confined space. Later I suggest reasons for this opinion.
Just as another fine line of connection there is a review in Los Angeles of the novel being also about birds. ‘Also About Birds: The Israeli-Palestinian Conflict’ in Colum McCann’s “Apeirogon” by Ben Libman
Beyond malaise is the witnessing of such division and conflict and Ursula Burke has produced in the area of the 5th floor something akin to the separate rooms, at least for my purposes of analysing what I’d seen within its pictorial walls that similar guise. Akin is the name VSO call their volunteer magazine which centres on the junctions of family and repair. This is also a part within the scope of Ursula Burke’s vision here. The many pieces of sculptured heads themselves are displayed on trestles and Dias as types of singular grief and fortitude.
The typed imprint sometimes seen in Ursulas work, of tattoos and messages is again used but less dominantly. The tattoos are in fact the bruises and broken defaced, literally heads full of self image and identity harmed but unbowed. Each forms a art of the same collective. The ‘rooms’ – Gates I eluded to – are usefully given mapping in the accompanying exhibition booklet.
The collective is known as ‘The Wounding’. In the same room, the point of entry are two smaller pieces, Blue – The Sphinx greeting you as you enter and the foremost image identifying what the exhibition is taking you toward. Due to the limitations of space there is only a small explation of the aims and it is immeasurable how much can be taken away or witnessed in calculations of meaning and the exploration of the work.
It is brutally beautiful from the onset. Delivering a coruscating abundance of tales in principle using humans at its core. Natures supremacy is also our configuration. The birds are in an evolutionary state, as we happen to have common migratory processes instilled within us. The flight as opposed to flightlessness is adjudicated in poetry, Seamus Heaney’s works are peppered with birds. As local artist Jefferey Morgan has often in his paintings, his fellow Artist in words, Michael Longley has himself a fascination with birds and their flight. Even in this same space (RUA 2019) birds were appropriated in Jeremy Morgan’s painting of Wiggenstien, as a perch for birds, his trusted companions placing context to philosophy in the edges of Connemara.
The Sphinx is an art subject since it’s earliest embrace. In essence power is anthropomorphic with this creature a heraldic peaceful force showing control, the complete opposite of ourselves of its innate image of pure evolution. This is no Tutankhamen (another tomb is believed to exist beyond the famous Egyptian find) but it is emblematic of faith, virtue, spirit and soul all equated with blue and light blue is associated with the Throat Chakra in eastern mysticism. The element of ether belongs with this and the bruise signals I am here, a human, both the yellow and red absent from blue transition to the physical take it to a stage statues do not have.
It is hard to speak of the delicate forms the world takes without seeing the contrasts presented. They are a dialogue of themselves. The hanging head ‘Augury’ in the third room is a synthesis of a beam, a pressure treated, well selected, worn railway sleeper of a crossbeam, a bodyof woolen torso. Who am I? – it seeks an answer to. Both of itself and the visitor under its presence. The stainless steel grille of the sixties ventilation above and behind it is brought into it in my view, with its rational place occupying the space also and filtering away the august air of the solemn interior in which we invent time and thought.
Inherited. A congress of anger. In ‘Augury of the Birds’ is a context which is as I recently reminded a commentator having a pop at a geographer in a political context, of the animal having a locale and no borders – pinemartins. One of the Irish animals that possess enough guile as to be from even further away. These common carnivores are found in Scotland and the species mustelid have been around a long time. They are not confined by fences while birds are even less confined. They find a way to cross boundaries.
Here there is a joy alongside a trying contest with hope in this display and conceptual world. By creating, and arches sanctity of place, light and stillness take the visitor to a similar room or series of spaces as the La Villa di Livia a Prima Porta. No longer a place of restful pastoral solitude here there are cast relics or people. The heads and bruised elegance given to the new born is cast with its brethren’s burden. The baby is a clear embodiment of this veil of sorrows already inhabited by the person. James Joyce spent years developing a new dialogue and who is Finnegan? Who is the wanderer? The point from one place to another is taken by allowing seeing places symbolising your existence. A habitat or vantage point like the Martello Tower.
The man-made is like a Seán Hillen postcard montage/collage sustained with images taken in combinations and gathered. Like a rickshaw on the canal towpath incongruous and accepted. The allegory of Birds is one which goes beyond our eight mile, for most experiences of that scale, vision unlike the birds whose flight allows them elevation and survey. Often looking at horizons it is observed or intuition tells us, why would you look for meaning in it, what is meaning and why would it have to have meaning.
Library of Congress Like Joyces work this Gallery is a ‘book’ of ideas subverting the ordinary scroll of everyday blindness. Joyce’s tenth of normal eyesight comes with the baggage of having to find other ways to create. Recently I have been discovering how common the impairment in sight is found in art. Locally the colour blindness encroaching in degrees and in severity was occurring with Paul Henry and Basil Blackshaw. Ursula Burke is using the head as the all seeing self and its variances are dispersed with degrees of damage and all physical with the awareness there is damage within always.
“A book must be the axe for the frozen sea within us.’ Kafka. In the current ‘Democrat’ debate a commentator pointed out – literally – if Elizabeth Warren had an axe/sword at the discussion Bloomberg was all over the place, he would be ‘shish kebab’. Perhaps those words should be removed from any political context. There is a plethora of subjects in political debate for violence which Ursula Burke has brought to this and it is a wild card I throw into the cannibalism of political discourse. Discursive not constructive. The view being, it is present in chambers of supposed governance.
There is another oblique observation which I throw in as it comes from the family of ‘The Origin of the Species.’ Gwen Raveret, a very quick mind and Artist when a boarder at school in France wrote when returning to the comfort of the Darwin household this.
‘In all that time there is only one vision that I keep: a flash, seen through the garden hedge, of some sheep in the next field, with the frosty, winter light running along their backs. It seemed like something from another world: the real world, to which I should escape again some day. It kept me alive.’ Gwen Raveret. (A Cambridge Childhood)
In that clear mind the outside vision is seen through nature. People happen to inhabit that world along with the animals she recalls. The words are extraordinary well in keeping with the Darwin insights.
The Wounded With the tenderness of porcelain Ursula Burke is calling out “the company of self-obsessed fuck-offs who squandered and destroyed the world …..” Gabriel Tallent. Except they continue to preside over the collapse. As in Dresden the mercurial pliability of the material as manipulated in the Dachau Concentration camps is once again primordial in its fragile solidity. These works are combined and brought from each singularity of a human entity, to become the assembly of The Wounded. The scene graceful and stark. Each head has a four cornered timber dias and they rest on the flat top at eye level. The combined display’s each suppose a human scale though they are at times not at the human scale but either or above or below. The child’s head for instance is larger than its normal size as is The Sphinx – Blue. As Colin Davison has in his Lives series and as is his practice the energy of a person is advanced beyond the know parameters thus confronting another aspect, that of an outside deliberate context. Apathy, hurt, fortune, fortitude, resilience, absence, they are all there and more besides. That is the gift art brings, as the lie Picasso referred to. The False Dawn maybe is presaged in the baby at the beginning of life consumed by applied identity.
There is an ever more disturbing connection to be made and it is with regard to that pliability of the Parian Porcelain. In a tragic irony it became a fixation of Himmler as in the Edward de Waal book ‘Figurines in Dachau’, of The extraordinary story of Porzellan Manufaktur Allac as it is further testified, the delicacy was a fine art beloved by Himmler and Hitler. Himmler called porcelain ‘one of the few things that give me pleasure’ and Hitler gave it as gifts. That skill advanced in Dachau a violation of human life.
The Concentration Camps became a crucible, some surviving it is presumed due to their skills and competency with the material, within Dachau. The factory in Allach became too small, and at the end of 1940 it moved to Dachau concentration camp. There were many advantages of having the factory here. There was the immediate gain of using the prisoners. The Allach porcelain company – as with the porcelain manufactory in Meissen – was losing skilled workers to the eastern front, and here they could draw on the talents of inmates. The few prisoners brought in from the camp in 1941 grew to over a hundred by 1943.
Geography and Boundaries While a heaviness of subject is somewhat eased by the actual area of the exhibition in what is a very large space within the Museum in the three parts of the 5th floor it has a difficulty. This is so large a subject the confinement of it is problematic. The particular and evident use as much is possible of minimal presentation by exhibiting one piece on one wall emerges as a tentative approach. There is little room for reflection.
Embroidery is a dominant presence which it is possible to approach as well as view from afar. This is seen as a hanging of an image created with the softness of thread while being the concord of hate in the image as people assailants each other or defend themselves. Blood is threads dripping in tapestry. The Politicians piece is given largesse and prominence and the wooden star frame is accentuating the methodology. The piece is however crowded in the sense it has companions in the room and they are not linear. If only the pace was larger and it were possible as would happen in a linear Gallery or Circular, Getty type space, lead you through from a piece to another piece. Instead it is a conflict of images and though the earnest use of light and separations is used effectively as much as is possible it seems a narrative is lost.
Despite my ‘eulogy’ on certain aspects and being able to draw interpretations from it on a vast scale at times, it torments by not being a story developing as it could. This is evident in seeing it with others and hearing responses and the quickness of a journey does not help. Would it be better were The Wounded be confined to their own room and reflection be removed from the other works? It is difficult to imagine. Another thing I found was not being able to describe its arc to an artist before they visited and it is not entirely obvious where the story begins and what the nature of the fresco analogy is. Is it important to read the ‘fence/bird’ metaphor as the original had foreseen? Is it suffice to take the fresco for what it is by long objective observation? It was long silent before being revealed.
This is a unique reconstruction and was delivered by work on many levels by a number of people under the artists instruction. It is formed with architectural references also in the entry point and the articulation the Gallery, a modern sixties space with delights of formation and detail familiar and a shift in art presentation in itself. Now sans Pirelli Black Rubber Floor unfortunately.
Embroidery is a method deployed as an invocation of political abuse. Comparisons for me are to be made with the work often carried out by local artist Brendan Jameson. It was not long ago he replicated a war picture with plastic bricks and fired pellets at the pixelated plastic image and it showed the connection of a bombing and burnt presentation in a soft caricature the hardness of violence. Often Brendan Jameson produces work similarly contextualised of hard subjects developed with soft materials, sugar cubes towers, cranes and wool is often employed. It is a demographic pluralised by many in art. Often troubling images are significantly made impactive by use of colour and texture. All art is a combination of the signatures, symbolic, icon, index. The hardness softness is a vocabulary which will last long and be emotive.
The use of tapestry is often seen as belonging to Power bases but that is long gone as a means of expression except the clothes and dress attire is often still predicated on status and power. By creating this soft expression of the subjects it is a dynamic pushing us to new collections of ideas. There is a thought of the location becoming a debating chamber itself, of the aftermath of debate being scrutinised by us. This is part of the envelope of any art project, to transmit and alter and show a way of seeing which is the converse and opposite of normal perceptions of the same thing or realised in an alternative shocking or engaging way. Our familiarity of the discourses is of course a point to hold and it is also capable for other universal viewpoints to arrive at much the same thought processes.
Of all art work with a narrative centred on human conflict and Guernica apart, I found the ballet ‘The Green Table’ by performed by The Bathsheva Dance Company of Israel the most powerful I have ever witnessed. As our own ‘troubles’ spiralled and became a proximity of human harm visited on many taking away lives and their future this recoiled as a parallel depiction performed as a ballet, it arrived without warning as acts of violence do. Other forms of art could provide similar responses, it so happened to commit totally to the horror of war and human disagreements being at the core.
If we go back to the original and the notion earlier, ‘this Gallery is a ‘book’ of ideas subverting the ordinary scroll of everyday blindness. Joyce’s tenth of normal eyesight comes with the baggage of having to find other ways to create.’ it presupposes a normality in that the original was designed as a dining area. Imagine what discussions might have fed those at the table. The outside is perceived as harmful while dining is a convivial and discursive learning rewarding essential social norm. While dining there is withdraw to a safe refuge to take in the harvest of all they survey.
‘The Green Table’ is that place of discourse and it is used not for dining but as a place to reflect and act out positions of difference and the meaning is held all are equal while a temporary lapse in normal hostilities are replaced by conversation. It seldom works as conversation is held among people as they swamp agreements or common purposes while energising other equations as a test among their piers. So the table is a mediator on levelling out. The people are of course ardently different holding outside ideas they must attend to, adhere to and visit so they are not confronted once they’ve left of change. That is also a spiral of centrifugal force. Like a satellite of thoughts much as the reverence held by the construction of Newgrange and other core layline driven spaces. These rooms are a place of discovery in the most part. They reflect on what is. They also offer food as the dining room is destroyed and in limbo while we navigate the pieces while discovering thoughts fresh and recalled.
Paucity in Religion As the work is attempting to take on a huge subject and our lack of mediation among nations it races toward the singularity of existence seen focused on individual choices and from the sign of the baby holding a flag on entering the world it is apparent this is individuality with context. The onrush of societal norms are that contagion it is difficult to remove ideas away from.
Predicated by the notions and practices instilled since birth it is rare that independent thought perseveres without some identity context. None more so than religion. I can see the argument and that is a toxic word in some places is that our times have always been trapped by war and conflict with Northern Ireland a place known primarily through its troubles near past. So I have found the following story from a pioneer going to another place, taking with them no doubt their own societal convictions, some puritanical and conflicted with the freedoms of others, to be very tangible.
The aspect of faith or belief, in which peace is a foundation sought through religious positions is brought through in the context of the USA sate of Montana a narrative which is brought by necessity into the thinking of a pioneer. I have not seen a clearer statement on the examination of religion as seen through the individual and their own choices and the fundamental need to be observant of their own actions and place it in context of a worlds mission. Progress through peace. The exhibition alarms us and covers this – Religion – Passage – without having the place to display it.
James Fergus – Montana “I said religion often had something to do with the fate of nations… the Christian religion brought about a long period of ignorance still known to us as the dark ages, during which thought was curbed, common education banished, and conscience given over to a rude, vulgar and ignoranat priesthood.
"And whatever good Christianity may have done since, much of the degeneracy of mankind during this period must be laid at its door... Christianity alone was left to darken and degrade the masses of Europe with only an occasional flash of independent thought, until the 14th century when we gradually see the flicking lights of a coming dawn. Gallieo, Bacon, Luther.
James Fergus as many pioneers sought a new dawn to live a life somewhere identity was not fixed but hindsight brought those words spoken above. In a nation never conscious of the Indian belonging to their lands and the desolation of a form of life caused by the migration into their lands it became, evokes another false dawn.
Another analogy I find in the film The Ghost Story by David Lowry which in this context unravels life backwards in a place revealing a past and positioning a future.
….walks over to to one of the pressure treated beams that line the road. She sits down.
This essay has taken many turns and has remained unpublished for a few months as the nature of the exhibition takes on more relevance and meaning. Now published 01 06 2020 I have settled on a degree of understanding and interpretation and as this world shows there is every truth in the individual having their own view in this compellingly complex world.
To finish I have noticed another reality. The Wuhan ‘origin’ of Coronavirus 19 was from dead bats. Bats it is pointed out in another book ‘Quarantine’ by John Grace, hang from caves upside down and their ‘eyes’ having limited vision in the conventional ‘sense’ are fixed as they hang on the ground, not the heavens above. The Bible uses the ‘quarantine’ of forty days in the desert to get across the story of ‘human examination’ where prayer expresses inner most thoughts. The daylight fasting contrasts with the bat and it’s lack of sight, no need for daylight and living a life in darkness without a canopy of exterior wonder as colour, our use of vision, gives us so much apparent contrasts that ultimately are illusions.
The day Victory in Europe 75 years after peace was obtained the days of remembering continued.
Here we are in 2020 with a sense of connection and humanity has had its say in the face of a virulent disease. We can prepare for making a stronger peace by realising the world we share for a short period of time as the Creator has given us. The strength of kinship and the selflessness of the National Health Service Carers and the Care Homes Carers along with the family’s and isolated who are facing up to their mortality whenever it shall be brought as it is to all, we give collective thanks for the treasures life has given and the hope that stays within us through every moment the Creator has given us. Amen
Catherine the Great The new subscription series, Catherine the Great delivers a suspect history while illuminating the vestiges of contemporary Political and Sovereignty in Europe. Starring Helen Mirren it is made for her electric acting skills and lineage appropriate for her own history. Some critics have said of it there is no magic sparkle or gold-dust in the drama for an audience expectations of provocative spellbinding theatrical lustre. It is just not hot enough and Potemkin is as near as it gets to a potboiler.
In ‘The Europeans: Three Lives and the making of a cosmopolitaCulture’ by Orlando Figes has formed a theme in his book around three characters one of which is Turgenev; Focusing on the intertwined biographies of a famous French opera singer of Spanish descent, her French impresario husband and one of Russia’s most beloved novelists, and as a historian remarks on the leaders taking forward Europe in this period.
Pauline Viardot – became Turgenevs supporter in more ways than one and mari complaisant where Figes attempts a continent in constant change – technology not being the least alteration.
He has again written in review, his account of his viewing of this tangential series with some ‘warnings’ he describes thus ‘But there are many small errors, a few large ones, and dramatic licences abound (spoilers ahead).’ By his account and depth of knowledge and no spoiler alert needed as I won’t reveal the ‘allegations’ of discrepancy here, The Times 4 October 2019, Review (2 Arts article) does deliver the needed autopsy on the drama and fulsomely, with if it’s anything to go by, a promise of an excellent twist of the History seen in the Banquet of the Vanities often seen through English historians eyes though this is unintentional but my viewpoint given our recent times.
The world of media is a fanfare of opposing histories and no more so than seen in the deliver of a certain kind of meritorious justice, so it is contended by the Judges of The Supreme Court on the material Considerations they avail of in reaching their decision.
It is looking more and more absurd and demonstrative of a blatant lie being conducted on behalf of the people of these islands, GB and Ireland.
How is that so you may ask. The series Catherine the Great is a fine element to attune yourself to history and the ‘Rule of Kings,’ delightful contexturalised by Lady Hale and her Supreme Court colleagues in filling us in on the remnants othering shared history and by dint their authority to preside and pronounce of difficulties of stewarding a country as it conducts itself among neighbours. Naked hubris called out
Orlando Figes has created a context which is invaluable to discerning not decreeing the formulation of the record. The drama series only serves a little recognition of history and its therefore a good question to ask this, Why is this drama altering in effect – it is also a version but without the spoilers of the above article – undoubtably off piste. It is due to the consumption of drama and partially though it was hardly a precedent, Downton Abbey conjecture of lives in smart antiquated buildings. Even they are confiscated of truth in these dramas. Stanley Kubricks red coated drama was an exception to the narrative swirl and conflagration in ‘Barry Lyndon’. The dramatic accounts are seen honestly dishonest in such as Shakespearian drama and No Theatre elsewhere displays of a version of the past. An appetite expects the formula to be as near cognition as the soul allows.
In his writing the review there are facts I wish to consume and add to a following narrative on ‘the rule of kings’ having written immediately previously my analysis of where that history leads us. A new history is upon us. It is no small coincidence Orlando Figes book has the title – ‘The Europeans.’
Catherine the Great he points out was one Sophie of Anhalt-Zerbst, a minor German state. Arranged Marriage would take her to Russia at 17 where in 1762 she became Empress of Russia. That is a pivotal point in any account of Europeans.
The advance of a form of rule by Catherine the Great is hinged on the male protagonists around her and allies or enemies to the throne she occupies. Several lovers and conquests, tested beforehand by a Countess Bruce who noted their willingness or aptitude for her appetite and patronage seemed a sure common means to stabilise and conquer her peoples willingness to be ruled. The imperial bedchamber is a retreat where she obtained as much male sexual comfort as she could and stayed relatively loyal to some of her consorts. Potemkin being highest in her affections and finding in him an alliance equal to her ambitions of statecraft. By her alliances she was in control of the destiny of Russia and she thought Europe.
By 1773 an heir had been conceived though the convention of the hereditary male becoming Emperor was a minor obstacle to Catherine the Great living up to her reputation and her offspring born in 1754. When Prince Paul the son assumed to be heir where normal protocols to hold but when he becomes 19, Potemkin is now embroiled in a relationship which savoured the expansion and nature of the Russian Empire sought by Catherine. With a historians insightful gaze Orlando Figes notices in the acting the chemistry ‘ – and there is a chemistry between him (Jason Clarke as Potemkin) and Mirren’s Catherine who is tough, tyrannical, emotionally closed, but more vulnerable in his presence.’
That sounds as though it has the convincing, authentic power of period detail in the portrayal of relationships. The mores were not a stricture of guidance to be morally bound to the Ten Commandments for example but a position of realism in turbulent times.
Her quest it seems from Orlando’s reading of the historical records is parallel to the religious one I see in the stewardship becoming more akin to the Lutheran doctrine she had left when becoming – it is perhaps legitimate to call it her arraignment in the sense she was completely and inducted – of the Russian Orthodoxy. It is possibly a century earlier the radical ‘reformation’ in advance of other European Kingdoms including a Great Britain the Bible was no longer an asset confines to elite Religious but now was among the people as an Orthodoxy and template for God and the influence of the Bible.
Emerging Configurations on knowledge.
The Russians had, in this open freedom to consume and debate the virtues of Religious belief systems, been given a tool which subsequently would overthrow the lineage of Sovereign authoriety as practiced by Catherine the Great.
It is a view which would take a lot of persuasion in practice though I put it forward as a possible bridge in the construction of Europe’s state. Were it not for the intervention of Industrialisation and another ‘costume drama’ enters my mind, with Antony Hopkins as an exile torn between the past and his ancestry and the youth testaments of his daughter and friends seeking equality and a positive socialist life ahead. The subsequent fractions and divisions came destructively to a head in the twentieth century. This drama ‘Howard’s End’ fills in, partly in a very apposite way the English dynamism in the abrupt departure of the slave ridden empire; Russia had abolished slavery, substituting it with servitude converting them to serfs in 1725 long before Catherine’s reign.
Unravelling the historical immorality it had perpetuated was in all of Europe a yoke which caused its own internal demise. Catherine the Great sought with Potemkin her long held belief; and it may have been from a uniquely Religious Lutheran Orthodox itinerant perspective been conceived as a role to follow in her sense of herself, the expulsion of the Turkish implantation in Greek and the Volga uprising as establishing an authoritarian based after all is said and done on a Religious philosophy equal and of the same consequence as the Age of Enlightenment. Paradoxes abound and Samuel Rutherford would have been found as not only a dissenter but a deeply flawed reader of The Bible in advocating the intervention, which was already in place in the regime of the Church of England but bound up in ‘rules of the Kings’ a theology requiring the believer to press allegiance to a higher edict and put in place something between them and God.
Orthodoxy did not prevail upon its followers any hidebound sense of Sovereignty but collided instead with the reverse Communism of Catherine the Great. It is an extraordinary complex construct to make but it might bear some examination.
There is a joining of stories in the work of Orlando Figes writing in both, ‘The Europeans: Three Lives and the making of a cosmopolitan Culture’ and the following review in The Times 4 October 2019, Review (2 Arts article) stresses the account drama and screenplays provide a view that conflicts and obscures understanding of history and narratives assumed then thought about. I….the above book for instance Turgenev is honoured with the praise for his toiling on subjects he has no reward for, … Turgenev acted as a peerless cultural intermediary, introducing Tolstoy and Tchaikovsky to western capitals and Flaubert to the Russians. Figes writes of him being an advocate of reason, progress and democracy.’ “a Republic of Letters based on the Enlightenment ideals of reason, progress and democracy”. The plasticity of the literature – not only his but all writers – it can be observed claimed the supremacy of the narrative by its own eloquent reasoning and ease of understanding. This was therefore the conveyance Kings Queens and Revolutionaries clung to and set there compass by.
Countenance of Religious Affectations
From the essay looking into the Supreme Court Judgement (the previous blog!) I arrived at the observations made in Niccoló Machiavelli’s ‘The Prince’ and again see so much to relate this to. I struggle to remove the image, the appalling image of a ‘judge’ with the fabric spider cobweb around her neck and telling us of the import of rule by – and this is where religion and the misuse of ‘the rule of Kings’ occurs – as an atrocious suppression of the Word. The situation in Italy as seen by Machiavelli is in his gift to repair. The notion the Florentine intelligence can be transported beyond its realm is not seen as problematic but possible.
So it is with Catherine the Great and the bold Potemkin who see their task to rid the world at least in Europe consigned to misfortune and bickering among sensitivities drawn down over thousands of years as surmountable. Little did they know and when discarding the preeminence of what appeared at least in part to exist within them, a dislike based on Religious doctrine, their replacement by royal decree and rule they were discarding with it their soul.
In a Puritan way there is reasonable course to disentangle religion from the methods of men. The reason delivered first to us arrives through light. Age of Enlightenment etc. are the runes of spiritual life. Indian culture is similar in its Diwali hinge. Our spectral vision is limited to the range the human can take in while wavelengths outside that human spectrum lie what in the past have accumulated thoughts subconsciously held and unexplained.
Overtures to 1812
Inspiral spectrums of thought are only realisable by the vast outside influences assembled by the mind. You will a phrase into existence and compose a range of notes to stimulate your life force. It is as though I do my work by sleeping and unconsciously combine possible futures as seen in the eyes of the past. Thought dreaming. Sleep and see the sunsets and act as though your passivity beyond the fact of death as you in that stillness absence of conformity as vers libre, that living octagon of constant revisionism and regularity. When the parameters outside n the daylight side of living exist to produce the combinations of Orchestra, Theatre, Poetry, Organisation of beauty in functionality and use it exceeds our worth and world of ourselves. This accumulation is the stuff of influence and the inspiration is without. Those rays of light and otherness begin to mean things and some cam detect the cosmic influence beyond rejection and elimination.
The modern Culture offered and absorbed seeks to provide an extreme of interest and the literary crime wave is itself a questioning ambiguity and surging by that confusion as artful cold crime analysis.
All contained in the lines of a book and screening of a reality formed of false indicators and misleading trails and analysis. We compose our curation of the world and ourselves by a distortion of self and created illusion. The appetite is growing and the Google super comport can only advance the churn of indigestible form of invisible history.
To join the histories of the ‘Continent’ is by any account a broad sweep using various reference point. For these observational viewpoints I use literature and the arts. The Drama and influences of the body politic often taking its directions from the canvas of Entertainment and visual metaphors sometimes transparently opaque.
The range of European History and its Collisions
Below are a selection of notes from Wiki, Common Eductional websites which are used here as another way to join the dots and see what – if it is at all provable – the actions present a confusion of objections while having some legitimacy and coherence. It asks why the paths taken were so intensely random and happenstance. Was it will by our inner selves?
The French has several Revolutions and the following is an introduction to the French then the connection with Russian and its role on the fervour of Revolution brought about in no small part by the lessons and paradoxes expressed by the literary elite.
Let’s begin with the royals sporting across Europe in aims to modify the world according to their ambition.
* (1494) France and Austria began the Italian wars * (1515) Reign of Francois I began * (1519) Leonardo da Vinci died * (1539) French became the official language * (1559) Cateau-Cambresis Treaty ended Italian wars * (1562) Catholics and Protestants religous wars * (1589) Henry IV was first Bourbon King of France * (1593) Henry IV turned Catholic; religious wars ended 1600s – 1800s * (1610-1715) Reign of Louis XIII followed by absolute monarchy of Louis XIV * (1720) Last outbreak of plague in France * (1756-63) Seven Years War; France lost all colonial possessions and Canada * (1778-83) France assisted the 13 colonies in the American War of Independence * (1789) French Revolution ended rule of monarchy * (1792) Louis XVI overthrown, First Republic created * (1804) Napoleon crowned Emperor of France * (1815) Napoleon was defeated at Waterloo; monarchy reestablished * (1830) The French Revolution (or July Revolution) middle class revolt, King Charles X forced out. * (1832) Cholera epidemics * (1848) Founding of Second Republic * (1851) Coup d’etat instigated by Louis Napoleon * (1852) Louis Napoleon III crowned Emperor * (1870-71) Alsace-Lorraine regions lost to Germany; Napoleon III overthrown * (1875) Third Republic began * (1889) Eiffel tower built.
Then the familiar 20c and wars begin a transformative World Picture begins.
Puskhin and his Literary Genius
The future of uncertainty is it’s certain.
It was something Alexander Pushkin might have thought as his departure from a promising life came in a duel at 37 years old and the malevolent Queen of Spades called three days after his being fatally wounded by D’Antes who had spoken pitiably and grossly of his wife’s family. He had in his dying, sought for his wife to be looked after by the Tsar. In facing into a future where his youth had gone he made some gestural indications in his folly to take comfort in killing an enemy or be killed so reckless was his vision of his future. He fell without his talisman ring having also returned, (never turn back) for a sable coat before proceeding to the duel site on the banks of the Black River outside St Petersburg in his coach, passing unawares his wife returning from sledging in the Winter freshness. It was a tad Byronesce maybe, this disastrous act being a supplicant of the romanticists Greece and Rome had entrapped him in affairs as society had witnessed the malevolence attached to circumstances becoming public. Now the history of Catherine the Great and Alexander Puskhin are intertwined as a people’s History told with an irony of Royals and Revolutionary thinking on both their parts. Some things never change.
The story of French Revolution precedes the overthrow of the Tsars. Known to his entourage as ‘The Frenchman’ his Moscow writing found him by 1820 banished by government who decided his poetry was dangerously subversive. They sent Pushkin out of the capital and into exile in the south of Russia, 1700 kilometres from his family and friends in St Petersburg. He was sent first to Ekaterinoslav (now Dnepropetrovsk in Ukraine) and then to Kishinev (now Chisinau in Moldova), moving to Odessa (now Ukraine) in 1823.
By the time he had formed his thoughts on the wider possibilities history informed him of, at the end of 1825 Tsar Alexander 1 died and in the following year his successor Tsar Nicholas 1 freed Pushkin from exile. Pushkin moved back to central Russia, living some of the time in Moscow, some in St Petersburg and travelling a lot. He became interested in the reformer tsar Peter the Great (1682-1725) and dedicated historical work to him. At this time he also became interested in his own family history and wrote a story Peter the Great’s African based on the life of his ancestor Abram Ganibal. His mother having been of African descent. At the time of her death he bought a grave alongside her for him to rest.
The peculiar interest in tyranny and it’s place in society was a duel in itself within Puskhin. His friends included many who were involved in a political group which was later known as the Decembrists. They were a group of officers who disagreed with the very harsh political system at the time. They are called Decembrists because they had an armed revolt in December 1825 to try to stop Tsar Nicholas coming to the throne. Pushkin wrote Ruslan and Ludmila at this time, a number of beautiful lyrical poems, and also some very political poems like Freedom. This starts with the declaration “I want to praise Freedom, I want to attack the evil of kings” and calls the tsar “Wicked autocrat!”
That extract comes from the above link, a composite view for children so innocently removed from overbalance or overbearance. His innocence of the worlds harsh realities seemed to be distant when in this removal from the turbulence and complete reversals of fortune Politics and the Reign of the Tsar encountered daily. He ought to have discovered through his African aristocratic legacy when only obtaining minor status as part of the elite. Being amongst aristocrats himself much of his life he was neither elite nor poor hence his probable annoyance at exclusion. The expulsion nullified any part in the big events that were unfolding. The only scope was his literary genius. It was Tsar Nicholas 1 who freed Pushkin from exile.
History has it that Puskhin provides a narrative of change while the powers provide the history. The fascination of history was an occupation brought about by his South Russian exile at his maternal homeland.
The fascination of the pre-history is him seeking the organic outworking among races and this is tied to ‘The Frenchman.’ His knowledge is accumulating and in the dramas he filed his own life and visions of depraved rule.
Peter the Great (1672-1725)
Peter was Michael Romanov’s grandson and under his rule Russia underwent many changes. It was Peter who made Russia one of Europe’s great powers and who helped it recover from the scars left by Ivan the Terrible.
He did this firstly by opening Russia to the West. He wanted Russia to be as modern and advanced as Europe and poured all the country’s money and resources into making it a kind of European paradise.
He asked the best Western engineers, craftsmen, merchants and shipbuilders to come to Russia and help him to modernise it. He also sent thousands of Russians to Europe to learn these trades and receive the best education possible. He even went himself – and worked in the shipyards of Holland and England.
In 1703 Peter declared that a town was to be built on the boggy marshlands of the delta of the Neva River. Over several years of frantic and often difficult construction, a city emerged. It was called St Petersburg, and Peter made it the capital of Russia instead of Moscow. St Petersburg wasbuilt to be a work of art, whose beauty would rival that of any European city. In fact, many early European visitors to St Petersburg described it as resembling a theatre set, such was its uniform and somewhat unnatural beauty.
Here are some other reasons why Peter was such a force for change in Russia: 1. He tried to change Russia from what he thought was a deeply archaic, superstitious and closed country into a modern haven of European civilisation. 2. To do this, he took extreme measures to make everything in St Petersburg exactly how he wanted it: he told his nobles how to live, how to build their houses, how to cut their hair, where to stand in church and how to converse politely in society. 3. In one of his most radical reforms, Peter made the Boyars servants of the crown. In this way he laid the foundations of an 18-19 century European-style absolutist state, where the monarch reigns supreme. The new aristocracy was suddenly totally defined by its position in the civil and military service and its rights and privileges were set accordingly. 4. In a surprising twist Peter even banned beards across all classes. This was a particular blow to the Boyars who wore theirs long in the Orthodox style, but all Russian men were subject to the law. To help enforce it, Peter even introduced a Beard Tax, payable if you refused to shave your beard! 5. He also made big changes to improve the economy, education and Russia’s military strength. He built up the army and the navy, making Russia a real military force to be reckoned with. In particular the Russian navy was really created by Peter who had hundreds of ships built by foreign experts.
Lifeline even now
Pascal had written another book for the Church after Pensées he formed another view which liberated him from dogmatic theory. He denounced Christianity by His Vers Libre on mathematics and science reasoning he went towards parthenogenesis and being separate from the need to believe one thing or the other. This magical delusion was Pascals downfall. It lmeant his best thoughts were not received by the populist and staggeringly they are still there even plays we have not seen or heard of all trapped in a bibliographic cemetery. The mocking tones of the authors seen preeminent like Voltaire were very often favoured due to the splendid cloak they gave to Royalty such as Catherine the Great. Delusion is a wonderful thing Pascal thought. His anti-religious thoughts were consistent with the well known maxim, it is better to believe, just in case. Pyrrhonism of living by thought is a paradox sent to sleep and put asunder by scepticism lent by the creator. That creator is the author of all and us.
Seeing the nothingness of belief in it’s unconquerable reason and the formed reality faced of war and dreadful outcomes for the earth’s inhabitants killing to survive among animals and complacency the compact only civilisation can construct to alleviate pain.
Not to question the religious life but know nothing of the other religious life is a nerveless position. The truth is beyond recognition but it’s invisible cloak surrounds and makes us alive.
Although we can see that Peter did much to modernise and empower Russia, we can also see why many did not enjoy Peter’s reforms. After all, by forcibly Europeanising Russian life he was trying to rid Russia of much of her cultural history and heritage. Of course, he was not completely successful and much of the old Russia remained, especially outside of St Petersburg.
The Napoleon part of Russian history is also astonishing in its exultation, it’s compelling act of restructuring, on the part of Napoleon who would not have the same analytical sense of the land he sought to conquer that Puskhin held even greater than the Tsars and this accorded a total clash of cultural values neither religious or colonial but a federal universal purge in the fashion of Alexander the Great and many others before them.
The act of exulting; lively joy at success or victory, or at any advantage gained; rapturous delight; triumph. This is the human failure. The obtaining advantage through warfare. Triumph is a potent word. From sport to self awareness all is in gain or loss while nature dismisses all-comers.
Napoleon invades in 1812 French Emperor Napoleon was becoming annoyed with the Russians and their Tsar, Alexander I. Napoleon had placed a European-wide ban on trading with Britain, mainly because it was almost the last remaining European country that wasn’t answerable to him. But the Russians kept breaking the ban because it was bad for their own trade. So in 1812, to teach the Russians a lesson, Napoleon decided to invade.
It turned out to be a huge mistake. He hadn’t planned for the terrible road network in Russia, making progress slow. The farms didn’t grow nearly enough food to support the gigantic army of 500,000 men and 50,000 horses he had taken with him. Soon they were starving, exhausted, and ridden with disease. As a final blow, the bitter Russian winter came.While Napoleon’s and Alexander’s troops did take part in some fierce fighting, in the end the French army could not cope with the harsh Russian conditions.
Napoleon’s retreat from Moscow Credit: Universal History Archive/Getty Images
Eventually, defeated, Napoleon decided to go home to France. Before he left Moscow he set it on fire. His armies had a terrible journey home and by the time Napoleon returned to France, only a fraction of his men were left alive.
One important consequence of this invasion was that some Russians began to reject the Europeanisation that had become such a large part of Russian life since Peter the Great. They wanted to go back to their roots, and to make Russia Russian once again, rather than an imitation of a culture and history that weren’t even theirs.
Slowly and over a long period of time, Russia began to recover its own culture, heritage and style.
The 1917 Russian Revolution The Romanov dynasty came to dramatic end in 1917 under the rule of Tsar Nicholas II, through an event commonly known as the Russian Revolution.
L-R: Maria, Tsarina Alexandra, Olga, Tatiana, Tsar Nicholas, Anastasia and Alexei. Tsar Nicholas II was married to a German Princess called Alexandra. Together they had five children, four girls – Olga, Tatiana, Maria and Anastasia – and a much wanted son, Alexei. Nicholas was a devoted family man and he and Alexandra had a very happy marriage.
Unfortunately however, Nicholas was not a very competent Tsar. He was autocratic but lacked authority and confidence. Too often in the years before the Revolution, Nicholas made bad decisions, such as going to war with Japan in 1904 when the country could not afford it and was ill-prepared. Russia’s subsequent defeat led to riots and strikes, and in 1905, on a day now known as Bloody Sunday, demonstrators asking for changes were shot on Nicholas’ order. The Russian people were poor, hungry and dissatisfied and Russia was ripe for revolution.
In response to the growing crisis, Nicholas first reduced some of his own power by forming a government but this was not enough, and he abdicated in February 1917. A provisional government was formed but in October 1917 a man named Vladimir Lenin took advantage of the weakened state and staged a coup d’état: he took control of Russia.
Catherine Puskhin Voltaire Rousseau Here’s a thing as they pronounce now and again contradictions of their objectives. In currently historical narratives the personalities of the makers of Revolution – or the ones who recognised change as inevitable – the Religious having exposed evil and given moral guidance through various interpretations of ‘The Word’, as Russians sway to Orthodoxy, The Age of Enlightenment and the following outcomes of Democratic will manifesting. In England the King James Bible was a result of the Europeanise and the new ideology brought by Charles II and the recovery of Royal privilege in 1659 when his Europeanism brought about by compelled exile a bit like Pushkin, his thoughts had accumulated wider visions neither Puritan nor Revolutionary but liberal in universality. This is the Cosmopolitanism Orlando Fuge refers to presumably but with Turgenev came a worldly sense beyond perhaps European Enlightenment.
Catherine was also ambitious and ruthless. She dramatically expanded Russian territory in the Crimea and Ukraine, and three times invaded and partitioned Poland between neighbouring empires. Her reformism froze when the French Revolution erupted in 1789, inspired by many of the principles she had espoused, and she joined a European coalition to crush it.
Rousseau’s self destructive personal life saw the burden of the impossibility of perfection laying heavily having rejected his own children and consigning them to the Paris Foundling Hospital. This form of self destructiveness manifested in Pushkin as he floundered on the twin towers of hope and virtue. Power and Powerlessness with the ruthless Machiavelli streak The Prince again seen as humans fatal flaw. Flea bag with wings.
The strange demise of Rousseau is mystifying still. On the Public theorising he was proof of the power of ideas in placing into the domain of autocracy
Catherine the Great’s intellectual pursuits extended far beyond her collection of art. Exchanging letters over a fifteen year period with French writer, historian and philosopher Voltaire, she was spurred to bring Russia into the modern era through ideas raised by the Enlightenment and its supporters.
What is perplexing about Catherine’s relations with the Russian writers of her day – Radishchev and Denis Fonvizin in particular – is that she did not tolerate the kind of free thought practiced by her French protégées, Diderot and Voltaire.
Rousseau was a fierce enemy of Voltaire and he is not mentioned here in the history of Catherine the Greats love and embracing of French ideas. They played into her quest to involve in her project. The Greek project all of Europe so the reading of Rousseau would be bound into the philosophy around ‘The Age of French Enlightenment’.
It has been claimed that Diderot’s thought was a corner stone of the French Revolution, and while Catherine would never support such free thought in her own country, she supported Diderot financially.
To illustrate this contradiction even further, in 1790 during the French Revolution Catherine sent Radishchev into Siberian exile for 7 years after he published his travel diary A Journey from St Petersburg to Moscow which documented the problems in Russia that surrounded her reign. Alexander Pushkin, the 19th century poet, novelist and playwright, was highly critical of Radishchev’s text, claiming that it did not comply with the poetics of narodnost’ – populism.
Catherine seems to be trying to save her image and legacy to force into the Russian psyche thoughts of a broad Europe.
Yet when we look at the content of Rasdishchev’s Journey today we see that Pushkin’s judgment is unfounded. Radishchev’s book is indeed an encyclopaedia of Russian life of the time. Pushkin’s evaluation may have been prompted by the censorship conditions of absolutism which prevailed after Catherine the Great in unmitigated form, demonstrating the impact of Catherine’s rule on not only Russian writers of her own time, but subsequently as well.
Pascal had written another book for the Church after Pensées he formed another view which liberated him from dogmatic theory. He denounced Christianity by His Vers Libre on mathematics and science reasoning he went towards parthenogenesis and being separate from the need to believe one thing or the other. This magical delusion was Pascals downfall. It meant his best thoughts were not received by the populist and staggeringly they are still there even plays we have not seen or heard of all trapped in a bibliographic cemetery. The mocking tones of the authors seen preeminent like Voltaire were very often favoured due to the splendid cloak they gave to Royalty such as Catherine the Great. Delusion is a wonderful thing Pascal thought. His anti-religious thoughts were consistent with the well known maxim, it is better to believe, just in case. Pyrrhonism of living by thought is a paradox sent to sleep and put asunder by scepticism lent by the creator. That creator is the author of all and us.
Seeing the nothingness of belief in it’s unconquerable reason and the formed reality faced of war and dreadful outcomes for the earth’s inhabitants killing to survive among animals and complacency the compact only civilisation can construct to alleviate pain.
Not to question the religious life but know nothing of the other religious life is a nerveless position. The truth is beyond recognition but it’s invisible cloak surrounds and makes us alive.
Things happen in a dislocated way unhinged but always relentlessly moving forward as though it was normal or a normal in need of explanation. Events occur unexplained or unexpectedly such as the punch through at the car spares incident then the disappearance of the maybe boyfriends parents. Who fed them? Were social workers around?
These things of narrative causality happen in waves. They approach and space out time while the core element – the character of the first person is built up with a clinging to books centrally as an escape mechanism. Others have drink terrorism and abuse as their chosen escape.
There are period books making the person appear detached as other novelists frequently do, particularly women writers to detach themselves from the hurtful content within their existence. It is a shameful existence but other people’s shame. Tristam Shandy. Then Ivanhoe as a tumult of adventure and Action is full of consequence so the maybe device is a counterpoint to reality in the readers mind. Why are you not in a fit of rage? why put up with these folk behaving this way? The point is she is acknowledging powerlessness while keeping ownership through her imagination of different results. They do not occur but the device of detachment through books and the maybe non commitment trope becomes even more important.
The descriptions of the other characters fall into the nerve centre of our own recollections of people by the pigeon-holing of divisions. Particularly in memories relevant to those in this place though in a discussion group (local) we discovered the story can transport itself to other world locations in various periods – all continents apply here. It reflects our use of certain devices and influences, religious, familial and political. For external readers it puts a distorted portrait of life through comparison with her analytical forward and the skill is this bombardment and collection of words repetitive, relentlessly conversing, traversing, turned inside and out creating a burden and baggage as relentless narrative and the method used pours out the realism in a literary form untroubled by convention. Is it successful or purposeful? Sometimes it is a strain and not needed for local enlightenment but it ‘maybe’ storytelling of necessity because of the question – how do you explain this idiocy to outsiders.
The waterworks is a good place to start with the runner separating themselves and keeping ahead. We found the author was a prolific runner in her Belfast days and this is a known quantity therefore and useful metaphor and device. The other – the milkman appears – I think of the milkman running with his underling running behind saying in a squeaky voice ‘BillynoBilly slow down tell me what you want me to do’ the hideous violent edifice is held in a pyramid of interlocking pieces – all secterian people need apply – (Anne Burn eschews the – dash – used in previous work and enters into a T.S.Eliot freeform (other non para writers need not apply) ) all feeding of each other’s fears including the milkman’s. It is found his quest is not fulfilled or being according to script or scripture – morality is a sideline.
Tribeca boundaries are disintegration in modern vandalism.
What’s the difference between a Belfast playground and a Belfast Building site? On the building site you have to wear hi- vis vests.
Living on integrity street is a red rag to some. There are some near the knuckle insights into the background of power Demi – Monde figures. Their life being a corrupted one itself. The renouncers are to the forefront neither antagonists nor perpetrators of the nub of the conflicting views but part of its origin. The origin is living in them. They will not let go or relent nor why should they as they carry the converse.
An exercise in not being vigilant and as communal treatise it sends the message, by your insouciance you are as bewildered as the next person only they are loud sometimes and cannot conceal their disgust, like the deflection of nuclear boy seeking a rabbit hole unique to himself. Purely a coping mechanism. Third brother in law was fiendishly caught up rag bag of emotions. Wildness in the park was routinely a road or pathway to keep to those steps and forward, were important in that wilderness.
Then there are the mind games that occupy the novel and the cars, cameras, all dissociative objects put into the flat screen narrative where we look back from into this seventies eighties scenario, in a analogous box in the corner – that huge period tv is now regurgitating the troubles into living rooms while simultaneously existing in the street red or not.
Sunset on Lisburn (referring to the classes and opening new vistas) opens up a whole new horizon. The limitless sky. There is no blue up there all of a sudden only other colours yet the blue is still thee.
This is a whole new meaning in viewing and seeing as observance, only comparison has been the narrative choice so far.
Interestingly the topics of rationality arise and it is as if writer is taking a tough subject and deconstructing it as words and incident – take the ‘feminist issue, France, Joan of Arc’ all interconnected through her sisters and then puts it back on the shelf in a completely reconfigured – on logics basis – neither agreeing or disagreeing but replete with new insights and a polished viewpoint.
When religion is spoken about it is when the gathering of women – “not just from the warring religions here but also a smattering of the lesser known, lesser attended to, indeed completely ignored (dissidents? quakers? evangelicals?) other religions.
The centrality of the figure of the Milkman is a contemporary attempt at conquering the male female differences without marking out new territory which feminism and other political tests that are putting out the brutality of a male centric dynamic which is seen tangible through the needs of the women, who try and establish her as one of them, in a flawed reasoning, as writer is gearing in her own mind voices neither of male or female constraints.
The poisoners tale. Laid up and legs do they work today? Then there is the momentous the purse is reached for for in the house when the purse is reached for the clasp opened then something big is happening. It could be something is so fraught a chip dinner is needed there is no time for a dinner to be made. Monumentous.
The death of the milkman after so many state mistakes was followed by an epiphany as the survivors, mostly the edge of proceedings males and the feminists who didn’t know they were feminists, taking a step into the blue yonder and the sky and sunsets were as always thee and always altering in colour and hue. Intensity works only for some for others it’s poisonous and some will over you solutions which are indigestible.
The Snibby McSnib drew backward as the door opened. They went in and we stepped over the trampled hedge and Bolty McBolt laughed.
Precursors – The disused cottage in Wexford (where the English landed) Derek Mahon is cited by some for it’s similar exposition.
Mushrooms looking at the keyhole and the light.
The meaning is squeaky clean and the pages turnable. Necessity is the mother of ruin.
More unattended wisdom!
Nietzsche did not accept this
synaesthesia Idea developers enlighten.
The eternal recurrence of the same. Is not the reparative always seeming a negative as it is past tense. Nietzsche declined to bite that apple. Instead the dilemma takes on a whole greater extension of its thinking as a positing of the notion of parallels which undertake change providing constant revision yet are totally different presences of the same outcomes.
The phenomenon of light is itself not seen to contain everything of the world or universe as was the sought meaning – held to bear – but synaesthesia is a characterisation of existence of a foretold truth lying within the science of elementary life.
The turmoil is unchanging as the spectacle is only moderately altering and its transformation is seen as cast but is itself timeless in the body we are within.
The universe as the body. Music is mere mathematical theory in search of harmony in a fixed range of audibility which we have limited access to. To be faithful to your existence you have to embrace failure and disappointment renewal of ones self. Treating the imposters of those emotional experiences as temporary fate.
Greater fate waits as the discovery of the world reveals new stories, the same told though synaethesia as differences of the same. Religion does not disavow human nature as a temporal state outside of divine spirituality as Nietzsche dismisses religions moral authority as being without any spirit. Existence is devoid of spirit and the driver is mastery by and of the individual.
Collective states of weakness he saw as behaviours themselves a mediocrity of shameful non persuasion. Unintentionally he cast or maybe purposely the majority in conformity of charity or good deeds as playing to the lowest stare while ignoring it most certainly was what made his ideas real.
The masses were the foundation stones for greatness to be built on and were themselves mighty realizations of the strength of character which had them rejoice at oneness and an equality that perpetually remained a moral goal and having religion as its guide to express this hitherto unobtainable virtue, he neglects to understand the meaning of science.
Just as he rejected Wagners themes of mathematical expressions embracing as the did temporarily good and evil those poles were transcended by musical composition of a modulation and harmonic derivation which confounded the masters of good and evil within it. He rejected Wagner while seeing a state of hubris in performance that live on Switzerland had made him unprepared to accommodate.
The great Shakespearian depths of despair and the radical inward thinking had people inventing extensions to language to keep averse with the telling of a playwright. A mere writer not of sound bites and moral treatise but the gambit of conflicting harm and joy set in again a synaesthesia.
The authors of the Age of Enlightenment were far more in philosophies terms, a visionary realm of ideas developers. Their riches poured out through literature beyond the unknown but the realisable. The science of seeking answers to atomic and molecular states of being.
Written and Directed by Clio Barnard. Produced by Tracy O’Riordan. Cast : Ruth Wilson as Alice, Mark Stanley as Joe Bell, Seán Bean as Richard Bell, Esme Creed-Miles as Young Alice, Aiden McCullough as Young Joe, Shane Atwood as Tower, Steve Garth as Jim, Una McNulty as Susan Bell, Jonah Russell as Pete, Paul Robertson as Dec, Music by Harry Escott, (credit with PJ Harvey song of An Acre of Land), Cinematography by Adriano Goldman, Edited by Luka Dunkley, Nick Fenton, Production companies, Film4, Left Bank Pictures, Moonspun Pictures. Distributed by Arrow Films. Duration 1hr 29 mins. Certificate 15. Language, English. Country United Kingdom. Supported by BFI and Wellcome Foundation.
The third (after her The Arbor and The Selfish Giant) Clio Barnard film Dark River is a stark rural set familial drama which is unrelentingly grim and a reflection of contemporary unspoken and also prominent incidences of sexual abuse that are now surfacing as never before with revelatory troubling concerns. How Dark River is an example of the hidden domestic sexual abuse which is a scourge of society and is very hard to uncover is brought through the skilful yet sometimes evasive and metaphorical direction taken. The water of the river in the Yorkshire setting is a place where it is both custodian and cleanser of the revelations made. Dark River is credited with a connection having been made to the book Trespass by Rose Tremain in its title closing credits.
Alice played with grace and substance by Ruth Wilson is returning to the place which is where she was once abused. Having opened the film with her shearing sheep with equal speed and ease as men on contract farm work the sunny disposition of a shared lunch break is overtaken by the need to return home and lay claim to the farm she left fifteen years earlier.
Here she finds her brother Joe who is played by a strong oxen type of a young man in his thirties by Mark Stanley who must and does create a brooding sometimes menacing and broken keeper of the land of their father.
It begins with a lovely song by PJ Harvey, whose voice like that of Nora Jones, is set back into the folds of radio playlists for late time listening. Seldom is the story as close to the brooding melody and words of “An acre of land.” Differently it is to the scapes of the dales Clio Barnards cinematic eye is cast which is as a mostly dark and seldom warm environment. Beautiful it is but it foreshadows the emotions soon to be brought forth. The Bradford of The Selfish Giant is Beyond this environment. Where the poverty and determination sometimes playful and joyous in that film appeared occasionally no sense of joy is seen here. The landscape is the lasting thing but having returned to where she grew up, the home is too much a haunted place full of recurrent traumatic memories.
There is no mention of any substance to their mother and another departure is not made to explain the relationship which is like having a table with a missing leg. Instead the darkness is kept to be contained in the reaction and emotional torment faced by Alice in all kinds of confronting forms. By choosing to go back she is laying down a recapturing of her rightful legacy as a form of affront to the misdeeds and dreadful abuse she suffered there.
It is not possible or easy to reclaim the land in a bonding or empathetic sense, which is where Clio Barnard is taking the film. The river is not cleansing but is a habitat itself suffused with memory. Water is a splendid cinematic medium as a certain recent film testifies to. Alice in going back is troubling from the outset. She is firstly unable to live in the house. She instead chooses to life in the adjacent prefab. She has immediate flashbacks. The flashbacks are with her also in the life she has just left. Esme Creed-Miles as Young Alice, Aiden McCullough as Young Joe, create a bleak vision of the childhood tensions brilliantly and others such as Shane Atwood as Tower, provide a range of solid character parts.
As well as visits to agricultural markets and the occasional pub, the landscape is significantly large as the land is shown with Yorkshire itself a broad scoping individual of a natural territory which the lens follows a formidable elemental beast. The North Sea is not far away from the river running to it. The weather and conditions are harsh and uncompromising. The skies are huge. The fields and boundaries wide. Some opening shots show the idyllic stone wall close cropped fields and padlocked animals as well as the straggling electricity pylons marching across the land of the white rose of Yorkshire as some behemoth. In exploring the two sides of the story. The land and its occupants it appears as though an attempt which Is unfortunately not achieved of a divination of some sort being sought or impending doom at the door.
Joe is the custodian of the land and is brought to consider the harm caused by his father and carries with it an unspoken sorrow and guilt in having been there and unable to stop it. As well as his own lack of fatherly guidance to find a rebalancing for he is deeply at odds with the cruelty of the world and the bigger picture is someway seen through his innocence. There is talk of the big big world and his sole or limited excursions away from the farm concerned delivery of potato seedlings to and from Ireland.
That is seen as another green field. Where the grass is greener and the ways strange but a set of values of equivalence but not if his own. Such a position as we know is a gigantic misnomer. Keeping with Noe his sense of belonging is more complex than the film is able to document. It relies on conversations of alternative means of farming when challenged by Alice to make it work and go forward. The strength was and is in the soil and I heard Michael Longley speak of the isolation in Co. Mayo in its remoteness and his muse Carrigskeewaun. The town land of the place giving a broad expanse for the imagination to go wild and be entrained by belonging.
That land is mostly empty through immigration and escape to the towns near and far. Yet it remains a muse.
Here my imagination
Tangles through a turfstack
Like skeins of sheep’s wool:
Is a bull’s horn silting
With powdery seashells. extract from M. Longley’s poetry.
The land is cast almost as the ultimate boundary and to it, nature we all return. The lines of Longley’s poems infuse this sense of separation by the necessity of language, names , nomenclature to express their permanence as they newly cast out repetitions of themselves in life’s great mystery of binary codes. The powdery shells of calcium carbonate cast off.
Different lands but primordial things speaking back to us through the land as nature sustains location.
Dark River takes care to reveal this in Joe, and Alice is similarly a symbol for the land. How it is conveyed is through the absence of the connectiveness she yearns for that Joe possibly still possesses. The drama is the conflict of the two as metaphorical damaged people. The harm being internalised in Joe and he does not even know but Alice soon becomes distraught apart from her own remaking sense of belonging. Joe is approached by a land agent after Alice applies for tenancy rights. He is taken aback by the arrogance of Alice with her citing neglect of the farm and decline down to him. The buildings are in disrepair, the land boundaries broken in some places and tillage and unkept fields not consistent with tenancy agreements.
There is a period when the differences could be mended though Joe points out some home truths. The clear inability now she’s back, of Alice to unburden the hurt and harm and the unwitnessed haunting and recurring themes which we visit by flashback. The river is a retreat and a temporary escape. In previous times Alice had made her lover a young farmer called Spider and he is an occasional entry to the film. Joe is deeply disturbed by the possible change of role and the methods Alice uses to work the farm.
When Joe applies for the farm he is approached by land agents who want to remove both of them whatever the methods deployed. Without criminal or lawless action but by manipulation and blackmail the land agents set in play a set of irreversible actions.
There is a confused end to the film in which retreat is to flashback to carry the fathers hurtful and saturating part in the story. Alice is confronted by a set of new challenges which unfold from Joe’s disturbed mind. There is no remission from the causes of harm nor any satisfactory outcome possible but time is constant and this is a period of both their life’s which set them in conflict with each other and in need of repair.
Very occasionally a film comes along to reach into the dark corners of domestic abuse and also the wider incidences in institutional abuses. Sports, entertainment and many Religious institutions are presently in the headlines along with organised criminal and community sexual abuse being uncovered across these islands. This tires hard to tackle the subject through a story taken from the core of the book Trespass by Rose Tremain and visualising and dramatising a single woman’s story.
This story departs greatly from the land ideal and the places ‘genus loci’ being ultimately eroded and land speaking like Longley’s Carrigskeewaun being almost a skeleton of the earths bones being seen again after mans tilling and ancient furrowing of its surface to raise a life on. An Acre of Land – the song speaks of ancient giving and the scrawny legacy it represents unkept. The environment is key as is our relation to it is the message and the human being is sinful in every respect and often unworthy as a keeper. Alice is a retrieval missionary but is thwarted by the sibling ownership of equal resonance. Almost the child is the father of the man in Hugh Leonard’s sense.
“from the graphic violence and incest visited on Audrun by her father and brother to Anthony’s near-romantic love for his careless and selfish mother. Then, engineering them into an impossibly volatile situation – kickstarted by Anthony’s immediate attraction to the crumbling Mas Lunel, and Audrun’s determination that it should not be sold – she leaves them to reap the consequences of their wonky desires and impetuous actions.” A reviewers take on Trespass.
The subject matter is a momentous multi layered one which is hard to dial into. Landscape is evoked as a contestable territory where vices are in conflict through the unresolved past and methods and approach’s carry the leaden crook sacrifice of innocence as the nature is fought with and contested without remorse, solace or forgiveness. Like many cases the time has past where the perpetrator has long gone and ultimately the sins of the father are left as remnants of history to be picked over like crows on a sheeps skull. A difficult slightly wandering and confusing watch but a worthy effort on a subject so difficult to handle or bring insight to.
02 March 2018
Showing on 02 March 2018 until 08 March 2018 at Queens Film Theatre.
Cast : Barack Obhama, John Kerry, Samantha Power, Ben Rhodes. Producers : John Battsek … producer, Diane Becker … co-producer, Alice Bristow … associate producer, Christopher Buchanan … co-producer, George Chignell .. Production Executive : Passion Pictures, Christopher Clements … Production, Executive: Motto Pictures, Ann Rogers, associate producer, Kerstin Emhoff … co-executive producer, Julie Goldman … producer, Tyler Gurd … associate producer, Carolyn Hepburn … Production Executive Ann Rogers … associate producer, Andrew Ruhemann … co-executive producer, Nicole Stott … Production Executive: Passion Pictures, Erikka Music by Philip Sheppard Cinematograph by Martina Radwan, Erich Roland, Film editing by Joshua Altman, Langdon Page. Duration 1hr 29mins. Cert. 12a.
The Final President
Home Box Office have created a documentary of the final year in office of the 44th President of the United States, Barack Obama’s tenure of service from 2009 to 2017 an inevitable expectancy reaching a form of closure.
THE FINAL YEAR is a unique insiders’ account of President Barack Obama’s foreign policy team during their last year in office. Featuring unprecedented access inside the White House and State Department, THE FINAL YEAR offers an uncompromising view of the inner workings of the Obama Administration as they prepare to leave power after eight years. It is an ‘fly on the wall’ without the depth of the intimacy of private wrestling with the pervasive conflicting day to day manifestations of outfall not just of past history but managing the present. It is inside and insightful yet is disappointing and troubling to watch.
News Management has soared to the top of everyone’s truth seeking senses. It seems we are all on a course of becoming a component in an agenda of mismanaged futures through the choices made in elections everyone is on someone’s line of trajectory. People as commodities. Holding firm to truth and where it emanates from is as ever a pathos, as stories crush and compel arguments across Governmental desks. Challenges are of unique carefully drafted message enveloped in media forms confronted by the reveal of history none were anticipating. Paradise papers and whistleblowers. Julian Assange just recently became a citizen of Ecuador while the GB Government has him under house arrest. Democrat disjunction, disfunction, is here to be seen also writ large ahead of the triumphalism of the anti-Athenian D. Trump. Dialogue is free and interpreted instantly. This film takes us up to that threshold and we are in the arc following when the choke was taken off the master tapes of the White House and Twitter accounts tell of internal wrangling.
Term of Office
No longer is there a President of the United States but a franchise which is part an incumbent of enemies trading powers privilege staying off legislation. A News managed for the mass consumption in return for a route to launder currency is all it took to dismantle the final office frontier. Nations and boundaries no longer matter and instead a block chain of political dimensions untaught in manuals or educational establishments, for that is what they were, are grounded on blocks of power. High yield is a derivative played by arms provisions.
Adjust the War
Barack Obama was the last President concerned with solving the long trail of a Rothschild type Imperialist agenda which saw the Gaza Strip as a battleground. He could not avoid it but it was not an analysis of sufficient gravity but a long held (dis)belief it was not a religious warp. So religion and it’s many dimensions never became part of the guidance on either side. Read the scholarly Saeb Shaath on the legacy. Syria and The Middle East have held a long sword of unremitting horror over its own people extracting themselves from a century or more of exploitation through its own tyranny. http://saebpress.com/2013/08/saudi-arabia-funding-unrest-in-middle-east/. 20c Oil has been the catalyst for the resurgence of the Arab world to again become valid citizens in a fallible relationship with its surrounding neighbours and fellow followers of peaceful unity but it has harboured the hurt and damage caused by invasion and exploitation of corporate thieves. Now the calamity is in a frame of technicolour news as daily reports of intolerance, genocide and divisiveness saturate continents and infiltrate the outskirts of formerly untroubled Nations. Migration by displacement is a shared world problem.
Calmness is a convoy of aid and here in the film of the round up of conventions and diplomatic dancing comes another narrative. Blaming and shaming. The aid literally is blown up by an actor for the world to react to, showing the failure diplomacy is. UN outrage is blunt and name calling. Putin is intent on alarming the world by showing here it is a crime to want peace if you do not accord with a rule of one Federation. The former Soviet Union is revengeful and Ukraine which barely gets a mention in this documentary is as near as we can place a truth of division outside of the Middle East used as a bargaining chip by both sides. The Hillary Clinton input is put aside also.
Heavily featured here is the Vietnam veteran John Kerry. He justifiable carries the burden of spokesperson for the nothing war which claimed and still does the lives of many of his fellow combatants and by mines left unexploded awaiting a victim. The Vietnam War follows through from Kennedy whose armaments fed the Vietnamese regimes fighting Communism to the Johnson and Nixon destruction both of their own troops and many civilians in Laos and thereafter came an legacy where there is still a long unbroken chain leading into Presidency after Presidency. Obama is intent on doing his peacemaking tour around the world and finds it gratifying and just in going back to the past and looking to repair the broken shattered peace and being a fitting memorial for drawing a line. Japan and Hiroshima will also feature.
John Kerry is on the alternative narrative of dealing with today’s catastrophe while ignoring the elephant in the room of USA defence weaponry manufacture and industrial warmongering industries. Safe to say he is not a pacifist as late on he declares and at the same time purports to be seeking peace. On USA terms. The other handgliding drone in the room is a UN Ambassador whose job is to make the obstinate squirm and show up the fallacy of their ways. Samantha Power has the unusual insight of an Irish Immigrant background; disqualified from running for office by that origin but equipped by having been recruited on the basis of a journalists approach and her book on origins of war and where they are taking us, at least that was my original take on its premise. The John F. Kennedy School of Government at Harvard University (sic) was the institution Samantha Power established a Human Rights Foundation in. From writing about how 20th century genocide was ignored (wide generalisation given the WWII and continuation of The Great War) is lost in narrative with the title The Problem from Hell. Women’s issues are highlighted and it is neither seen as a fashion thing about wearing hijabs or subjection but a basic lack of equality. Religious dogma is not writ large. Kidnapping and slavery and terrible abuses are documented while the daylight of a USA where a form of women’s subjection is to open on news fronts across industries in a #me too narrative is in the shade here. Truth will out eventually. One of the guides they fail to recount is John Stuart Mill, not only on divinity recalling the individual broadly used not as freedoms footnote but as a economic distribution ethos.
Unintelligible is the strength and power of religious idealism and internally humanity overdoing any ‘value’ hierarchy brought about by trade. JSM relies on ‘constructive empiricism’ while seeing or rather not seeing ‘nature’ – the storms of civilisation alongside the natural phenomena of our daily bread – constantly putting us in our rightful place demanding reconciliation with it and ourselves. For JSM his wisdom also produced solutions peculiar to himsel& and in his relationship with Harriet Taylor evidenced an equality of existence even the Church could not form. Itself a ‘periclesian’ mode which was denying no one their individual freedom. The suffragettes at the same time conducted wicked and detestable bombing and created a scourge still not acknowledged as a means to an end. Democracy. Enemies were many and often with good cause. So this is a backdrop History is failing to include in the breath of those forces confronting the so called ‘leaders’ this film seems intent on eulogising in a passing river of consciousness as it reaches down rebranched tributaries and flows continually caring the waters which it will always carry.
Narratives are forms of life and no history of the world can be written without the diaspora having a say. From the Anglicised retention’s of rule in a Fedralised America to the Religious strength consumed and abused in the USA and nations from the tip of South America up to Alaska, Canada, across Europe and spread dishonestly as a rhetoric of truth comes another will. The will of America to prevail and be prevalent as values which we are overhearing in the everyday talk of the rooms of power. No mention of the G20 or Peter Sutherland, Goldman Sachs or any taint of monied America getting its hands dirty? Just another HBO narrative with displacing counterpoint in soundbites hurled with intended anonymity into the whirlpool of chaos two steps behind the developing story. At the beginning of the film comes a follow me routine. The feet fast and well shod on prepared ground. The diplomats timetable run out as prescribed in advance but always a beat behind. It’s as though they are insistent on not being their on time so as to disown the past.
Britain invented Israel as a removal of a family of languages and people. the afroasiatic form called Hamito-Semitic, a family of languages including as subfamilies Semitic, Egyptian, Berber, Cushitic, and Chadic. Syria is Palestine and holds a bitter division in opposition to the Imperialist Israel Project with Lebanon as a hideout. An interesting novel character is found in a speech writer whose compass matches Barack Obama’s. Ben Rhodes is an under forty master of spin and incisive vective. This is a part of Obama’s person he (Obhama) can’t devote time to so has allowed a surrogate to unfold his theories and unlock his wisdom. Unwittingly or is it intent, he is cast in the mound of a Jewish intern general with a false past which is possibly denuded of the Religious might he is from.
Religion is swerved here. His Episcopal Father and Jewish Mother are tongues he listened to and listens internally to now it would seem safe to assume. No faith is to undo the legacy of an infant Israel heresy. Muslim or Christian. Judaism in a bold type of monotheistic reason is adhered to in American eyes. Both these travellers, Obhama, Rhodes, are Religious in degrees privately it has to be assumed from other media but often as not it is left outside the Oval Office. Neither seems to realize their part is based in Religious heirachy and they are beholden by virtue of their cloth. That sets them apart and mitigates against their understanding of others values not matching theirs. Fundamentally in the Middle East. Winston Churchill is apparently their mentor or past leader of choice for guidance. He was beholden to America also and Blenheim Palace became the gift of the British Crown for his persuasion in getting the USA to enter WWII and send supplies into a Europe which was under siege from that genocide The Problem from Hell. More like the problem of Hell. How not to see it. How to not recognize its advance.
Hell is in the clouds and earth.
Speeches set the tone and every new room entered has a pathos to be delivered. For Barak Obama it is the American Declaration of Independence and is foremost in lectures to the gathered. It was what a Congress was derived for. July 4, 1776, and the words were set in Washington’s Presidency. Those words were conscripted from Ulster’s Francis Hutchensons philosophy brought forth by Thomas Paine as exiles of the yoke of imperialism they so detested. Unitarian in thought and principle their ideas were nevertheless based on individuals allowance of free thought. Less words would carry such might as those distilled here. Yet where are the notions of the Declaration in assignment against the tours of combat since embarked on. Only the hideous genocide of future generations in Africa and Asia would equal the waste of WWII and its legacy borne world wide. Now the countries are being stripped of their assets by new entrants from China and the G20.
Rich as this film is equipped with the sensory media behemoth of the United States of America in history mode it fails to direct the camera in any decisive illuminating way while illustrating a West Wing narrative which is high on ideal and lacking in scuprles or any game changer dynamic. The anticipation of office has been swamped by time advancing with greater perils opened up through truth emerging in histories recall. As a mission to complete the 44th Presidency many repairs were sought to be made by Barack Obhama while his steadfast troops both suited and fatigued were deployed on present day flanks with much of the common talk broken into slow burning flames of hope. It is a film worth seeing as a reminder of the removal from the political sphere a genuine worthy experience of mankind reckoning with their own failures and beholden by powers immensely conflated and misunderstood. Philosophy is in its a bit but it is a failure to define politics as a motor of governance for the common good which is all too clearly absent given the extremes of the states and actors involved at the heart of our world order.
18 January 2018
Opening at Queens Film Theatre Belfast 19 January 2018 until 25 January 2018.
Director Jim Sheridan, Producer Noel Pearson, Screenplay by Jim Sheridan, Johnny Ferguson. Cast, Vanessa Redgrave, Rooney Mara, Eric Bana, Theo James, Aidan Turner, Jack Reynor, Susan Lynch, Siobhan Redmond, Adrian Dunbar. Music by Brian Byrne, Cinematography Mikhail Krichman, Edited by Dermot Diskin, Production company, Ingenious Senior Film Fund, Voltage Pictures, Ferndale Films. Cert. 12a. Duration 1hr 48mins.
Beyond Dublin in the Green
Some people have got this film horribly wrong and are unable to cross over into it’s tragedy in a trinity of hope. The Irish Times gives it this ‘tribute’ – What’s that? Who’s he? Where’d that come from? When Barry’s novel was published, several critics argued that the final unlikely twist felt at odds with a hitherto disciplined narrative. It says something about the film that the reversal feels perfectly at home among so many even greater lunacies. Iteven casts sectarianism into a new vein without making comment of how diffuse these things are to convey – it seems in a blind alley Ireland. The mastery of the Bible both potent and conclusive lends written comfort to Rose, a woman betrayed. It is within the unspoken reading between the lines we go with this film based on the novel of the same name by Sebastian Barry which makes for more imagining than the act of storytelling in film this is. Nevertheless it is handled extremely carefully with a melding of eras and in themselves drawing comparisons. The landscape is more familiar to the Irish and the need to know (Philomenas Story is a close relative) diaspora from Canada, America or Britain whose children are the fathers and mothers of new generations of the ‘departed’. In complete association too are those left beneath fields, institutions buried so none would reflect on their memory except the mothers and those in the know. From Priests to Police to Orderlies. Into the equationn come knowing townsfolk contributing to the complicity and getting on with their lives by ignoring it in order to straighten their own existence in the changing world. For the story to begin we enter the present day at Rose’s Hospital and Residential Care home in the midst of it closing down. Some lessons are learnt and there is clearly an attempt by Director Jim Sheridan to acknowledge Times have changed and the bullying and treatment of people like animals has been removed. In this present environment there is real care and a making good with what is at hand. Even the prospect of Rose being able to go to somewhere other than a mental asylum has reared its head.
With the dramatic stroke of a pen Sebastian Barry conjures up a back story to the aging and institutionalised grande dame Vanessa Redgrave playing Roseanne McNulty whose 50 years committal to this decaying and listed for demolition Roscommon Regional Mental Hospital, is transported on the journey of her earlier life and circumstances. Doctor Grene (Eric Bana) is sent to determine whether Roseanne is fit to be released. The younger Rose is played by the affluent and Irish connected, Rooney Mara whose arrival in a small village in 1940s Ireland causes two men, a fighter pilot and a priest, played by Jack Reynor and Theo James.
New horizons revisited
Jim Sheridan has Oscar-winning debut My Left Foot and In the Name of the Father as home based movies and into Irishmans habitual magnetic pull to tales of immigration he went and it did not fail him with the exile story In America, and was an acclaimed award winning film also. Some subsequent entries to the mainstream movie still didn’t seem to suit his work and this is a return of more recognisable formats and it is an attempt by Sebastian Barry to story tell the periods which define present day Ireland the diaspora and wars intervention. This of course brings in relationships as the bolstering narrative force. The auld triangle of a beautiful young woman and two bantam cocks clanging the auld triangle and creating conflicts?
Rose has kept a dairy all these years and we enter its tableau – shortly into the arrival of Rooney Mara from Belfast where it’s unsafe after bombing there. The arrival of a beautiful independent woman is on this West Ireland landscape in the shadow of Yeats Benbullben outside Sligo, is to an already developed hybrid of gentry, Anglo patrons and a subdued, suppressed by Religion ‘compliant’ malcontented population. They are not mercifully at war though many across Ireland went and fought alongside the British as it was 1. an option 2. There was little for them at home. The mainstay of any small community is its perverse sense of hierarchy and those who disobey and act up are likely cast out. Rose is recruited into her Aunts Hotel Temperance establishment and quickly the honeypot of the scented air takes her into the midst of village taboos. The first ‘normal’ encounter is with a young man called Conroy a labourer for a hard nosed local family. They have a built in hatred on the English and when there is another approach not altogether religious and skirting his own anxieties surrounding masculinity and his sacrifice comes Father .. Rose deflects such straight eyed advances and goes her own path while accepting invitations to the local dance. The presence of the Church is everywhere and in the dance hall they are required to keep apart while hoAldi get one another while the Priest including the presence of Father …. they leave enough space not to be sinful.
The film is drawn out using a great deal of passage from the present to the past. It in done with good untroublingbpassage and with the versatile Vanessa Redgrave playing the Lady Rose and the unnerving accurate Rooney Mara as the younger vunerable Rose.
Inconsistencies and alterations. Implausibilities?
Very strongly held views on this film have come from many who find the story confusing and too contrived in its far fetched coincidences and shaping of characters that feature less in the book than put to purposes dramatic here. Some even call it a travesty. Sebastian Barry having sold the rights keeps his counsel and his silence is taken as being far from endorsement. There certainly are large parts of the long history left in the book and a Rooney Mara’s Rose here has a prominent role in a central love story which contains its central themes. She is an incomer, she is a beautiful sophisticated woman, she is of independent mind, she is entering a part of ‘remnants of occupied’ Ireland beset with unfettered resentment, she enters a village which has ahigh morality driven by the Church, she is also in proximity to state institutions which remove children and separate single mothers from their babies and lock them up and give their babies away for money. She also is in proximity to a Medical system crudely operating the appliances of ECT and shock treatment as normal for mental illnesses or difference. She also notices the formidable rectitude of everyone to hierarchical status including her domineering Aunt (Siobhan Redmond) who’s name along with a few others are not easy to find on press credits oddly. So is it deplorable to drop large parts of a book and get Shakespearean in this gazette of Ireland observed by the Filmaker Jim Sheridan who wrote the script along with the late Johnny Ferguson.? There are central characters in this which do not sit comfortably with some people. The airman flying a Spitfire – they ignore the reconnaissance tasks in the West Coast Atlantic seaboard where U-boats were often found and Lough Foyle famously being the last outpost for plenty of U-boats and also forget the American airbases – the recent BBC My Mother and other Strangers gave you the opposite to this film, delivering a War soap opera – which were in Fermanagh and all across Northern Ireland full of troops and airmen training to be pilots in preparation for the Secret D-day landings. 8,000 in Kilkenny Co.Down alone. While the book may have consorted with the flying mission instead of being a land based soldier, it matters little. Bonzos are quite capable of shooting down ‘foreign’ planes and planes crash. Many flights no doubt took place over this very stretch of Ireland’s republic. Where do you take fault? Is it the neatness of parts of the linkages. Is the element of delving into people’s past too trite? Sheading interesting characters? Is the ludicrously large white collared Priest Father Gaunt too comical and pathetic a figure. His character is volumously turgid and corrupt of a conflicted man. Are the nurses of the old school too clean and Matronly while being intensely underlyingly cruel? All these questions to my mind are nonsense and in the core of the film Rose is telling you how unstable memory is. The record to has advanced writing out that history. Some of it is fantasy and in parts some of the grim reality turns out to have another side. I don’t care if half the time the story finds a simple way to the next part as we are closely kept to the woman at is heart trying to imagine what happened to her. Can you imagine how much she must have struggled to put that behind her. For her imaginings of what happened to ultimately coincide with a partial reality? The questions need not be effecting in terms of how they are coming to you as essentially they are in the realm of broken fractured memory. The script actually places false directions in Rose’s mind only. The other characters are real and no such bewilderment is visited through them. Their part is sometimes savage and brutal. Rose’s is in a state of protection in a fixed world she has inhabited for 50 years? Can you imagine the damage caused to her and many women like her?
I opened the play The Steward of Christendom at random and came across the same times as here. There are common investigations and trials of the past – society in Ireland – undergone by Sebastian Barry of which I rate the play as masterly, profound, haunting, sad forgotten history, much as this film indeed takes us intoand itis quite political but Donal McCann made it definitely ‘other’ about the human improsoned in Ireland. Inside the Institution and outside on the Island fighting seeming wrongs. It made the hairs on the back of your neck stand on end in its horrific prescience. Even now it inhabits the same place – even more so given the recent barbaric dreadful disclosures of previous generations guilt and the pain inflicted in those institutions. Here’s the line I found straight on opening its pages of the powerful orderly Smith – Even in the ward of old dames with their dead brains, have some of them opened their eyes and are weeping to be woken, with your bloody shouting. Do you want to go in with them, old man? After I beat you! Sebastian Barry on the case even then.
Eric Bana takes a high dose of listening to his requirement for enquiry about Rose.
The rich dramatic material at play and the fascinating historical backdrop means there’s plenty here that proves initially appealing. The young Rose is trapped by her sexuality, arousing interest in men without the slightest provocation on her part yet facing the full force of blame from those around her. The film briefly explores the complicated rituals of dating at the time and the dangers of a bruised male ego when a woman dares to turn a man down.
Initially there was a backlash in contemporary Ireland to the book with its closeness to history and claims of abuse ever in the headlines playing out. It was seen in reviewers eyes as being far fetched and characterisations of romance purile and simplistic. For the film it’s seen likewise by many. The closing of the film is too contrived and unexpected as Vanessa Redgrave holds centre stage with her marbles intact. The Secret Scripture use devices of story telling which only flow smoothly in books but it is admittedly hard to convey in the time period of a movie. Demands of twists and turns though have been dealt with very satisfactorily by Jim Sheridan and there is no overplay of the gestures and realisations as they unfold. With Vanessa Redgrave playing Beethoven’a Moonlight Sonata, (an accusatory critic paled at its repetitiveness) in solitary moments in a room, we see the breathing diaphragm of a living person recollecting her past. It is not only sweet and convincing it is powerful and moving.
For the time periods tointermingle we have to have contrastand Susan Lynch playing the part of a present day nurse becomes a key vehicle for the sensitivity of history learnt. Her knowing, caring, is in seeing the woman in Lady Rose and reflecting on what she has gone through over forty years. With the instruction having been given to assess her being taken up by a psychiatrist who is intrigued by the fortitude and forceful will of Lady Rose, is Eric Bana who plays admirable the ‘outside’ caring professional, quick to note discrepancies in the work of his peer, the notable Dr Jello of Adrian Dunbar who is in charge with emptying the establishment and sees it as in ‘the line of duty’ as a role he plays with predictable solidity. Dr Grene on the other hand is given slack and time by Sebastian Barry to develop a quick relationship of patient and Doctor which in present times of austerity are unimaginable. Nevertheless an authors due – the slack given on occasion to movies due to time scale particularly in adapting books – is to make plausible a story’s reach. Eric Bana and Susan Lynch form a convincing team and share the sandwiches, lunchbox treats and soups etc. or whatever sustenance is at hand in between Rose’s rest and elderly ramblings. They too remain in the ghost like building emptying around them. That is when switches occur back to Rooney Maras action packed life take us into a believable village – preposterous to critics of the book – with fabrications of conflicts infighting and japes and foolery unbetoken of Ireland of the time.
Irony lost on viewers
Sebastian Barry has of course given some ribald irony and an edit of preposterous heft to the story as if to say – Ireland, you were present when this was happening around your ears yet all you could do was turn a blind eye and more than that get caught up in rebellion against a country at war and a religiosity which tore the faith in God out of you and created a purgatory here on earth. It is tangible to see this cussedness in Irish people of that time but it causes more pain it would seem. The truth always too has its victims. That is the line, the horrific line this film wishes to take us over and into a powerful emotionally troubling period for the characters who represent in fiction real people’s lives unimaginable at this distance horribly corrupted and ruined. So there is a backlash of morality fighting for concealment as due reflection turns over too many stones close to the perpetrators unable to come to terms with their own families part in these vexing times. Why drag up the past? The reason is it uncoils itself in many ways not least in being held in so, it becomes repeated as a manifestation of ancient held in guilt in the sub-cncious passed on. The doplar effect of the mind. Séan Hillen in his Irelantis fictional world creates a counter narrative in art with the juxtaposed John Hinde visions of Ireland and as richly as film and novel forms. More is essential for understanding ourselves the better.
There are scenes in the film which many will find arguable and condonable however I see those particularly disturbing pieces of work as entirely plausible credible entries to the hidden stories Ireland has masked for decades. It may not be the truth but it bears an uncanny resemblance to the unfurling detail. It is why it must be examined for what it contains, not for what you would like it to appear.
No chemistry? It’s not totally about their relationship but what hovers around it.
On parallel works
Hence the auld triangle goes jingle jangle. From Galway to Dingle, from Derry to West Cork it’s been happening for decades. Both the internment of the young and vunerable and the institutional abuses therein. The Steward of Christendom by Sebastian Barry was an intensely brilliant play I’ve seen several times and had on it acting – the unforgettable The Dead film character of Gabriel Conroy played by Donal McCann whose performance in John Huston’s 1987 film of the Joyce short is itself a piece of Irish history and also a masterful core part of Irish Cultural excellence in all its various themes.
The themes of the play are not equivalent in this film but provide another shape to the times within this film. For a synopsis of The Steward of Christendom – I’ve extracted the following from a ubiquitous source. The play opens in a county home (an inpatient psychiatric facility) in Baltinglass, Ireland in 1932, some years after Irish independence. In the opening scene, Dunne (Donal McCann) appears to be raving incoherently, reliving an episode of his childhood. As the play continues, Dunne slips from moments of lucidity to reliving parts of his career as a senior officer in the Dublin Metropolitan Police (DMP), especially the handover of Dublin Castle to Michael Collins in 1922 after the signing of the Anglo-Irish Treaty. He also relives memories of his family, particularly his daughters, Annie, Maud, and Dolly. Dunne is also visited by the ghost of his son Willie, killed in WWI; Willie’s ghost appears to him in the form a 13-year-old child but dressed in the soldier’s uniform of his 18-year-old self.
Here the date focussed on by Barry is the early 1940’s. The institutions had been around and become part of the identity of Ireland. In Belfast the 1932 move to Stormont from what was and had been the Northern Ireland Parliament one hundred yards from QFT in the now Theological College since partition in 1925. Sebastian Barry covers this ground in much of his work, of institutional Ireland of State and Health the life on the streets and rural world grippingly as he loosely affirms family connections with the Thomas Dunne the Dublin Metropolitan Police Commander in the play. So too this film for its depiction of a former period of important movement in Ireland. These histories are intertwined and Michael Collins, Eamon de Valera both had ‘seats’ at the Belfast Union College but never once collected from the fifty boxes of the MPs the Order papers of the day for that emerging Parliament. One could play the card Eamon de Valera was a double agent to the British hegemony as future republicans were to similarly trade their countries status. Not in a film though as truth is mainly stranger than fiction.
I began with a mindset carrying ideas of the lukewarm critical reception of the book and film, both inhabiting that doubt common to adaption of part historical narratives. I need not have concerned myself too much because this film opens up a layer of life which is seldom considered in its continued influence and in the magnitude of its shaping usand the identity formed as a Nation on its multiple layers of relationships across continents, across short sea journeys and across hedges and parishes. It harbours a fiction I see to contain many probable realities. I never read the book. In the depiction of Lady Rose played brilliantly on both parts. Rooney Mara as the young independent free spirited, intelligent incomer beauty full of warmth and expectation and the kaleidoscopic thespian skills not wasted or lost of Vanessa Redgrave, herself no stranger to loss or to Ireland’s perplexing past, is not only endearingly charming but purposely disjointedly harmonious and comforting in its plainness. There is nothing plain under the surface no matter what the Irish take or spin on it happens to be or where the deniers – and they are the ‘plain’ folk of Ireland themselves, mostly due to present many frstations of suffering across the world would prefer to banish and put away in a state of complacent bewilderment. If only that were our only path. The Secret Scripture is written – a form of blasphemy- in black on the Bible – as in the Temperance Hotel (you could say it was a depiction of Ulster which has many many connections with Sligo) – here is a Lilliputian Jonathan Swift world of male believe. Now and then. The Bible being the only book – in this puritan hotel – is the only marginila Rose has to take into her incarceration as a hidden diary. For its uncovering, not matter it’s Preposterous retrieval there are unsettling truths like the words of the Bible itself. As it is not a Book which is safe in the Clergies hands nor taken with pillars of salt in communion amongst the suppressed and mal treated citizens, already infiltrated by a siege power of a monarchist force. Since the 1166 occupation the persistent and systematic entrapment is in plain sight from the pulpit and before the pulpit. Both the Catholic Church and the Church of Ireland contrite and corrupt in unity of suppression against Gods will. This film will be seen initially as a passing anecdotal fable worthy of a watch but light on appeal. It will upset and conflict with perceptions narrow and broad but I would say it will after several viewings reveal itself in time to be full of its own contested narrative slowly bringing a reckoning to bear as its bold and more extreme view is received as history continues to recite its clarion vision. It is there for us to see in a wider sense and while novels, films can only open some fictional presentation of a past long gone it is always a sudden shock to see its proximity to truth and realisation is slow but within reach. On a question alone of the mix up of plot and some too fanciful occurrences I knock it back from being a 5 as it is to my mind of a very determined voice setting out to familiarise the world and those closer with the inexcusable period in the past in this country – worse if most probably being effected unknown to us in other parts of the world – and it is a piece of the pyramid of truth being built in memory of those children and women.
It is like a whisky chaser hitting your throats but this is why the fondness for diversion is like dashing your head on the rocks. So much is ventured there is no small comfort to be had except through thinking along the lines I think Jim Sheridan, Sebastian Barry and the fine strong cast found themselves nurturing. While it is discomforting it is due plenty of deliberation.
22 March 2017
On at Queens Film Theatre from Friday 24 March through to and including 30th March and on General release.
Post Behan Brectian Proustian stories
In Ireland the confinement of Women and Men distinguished little in Mental Institutions from the Prisons like the Mountjoy that inspired the Dominic Behan The auld triangle goes jingle jangle. The lyrics still are chilling and how the Bi-sexual Brendan Behan came to them is anyone’s guess but the waking traingle of the Prison warder still makes people sit up and listen to these lyrics – the last verse.
In the female prison there are seventy women
And I wish it was with them that I did dwell
And that auld triangle, went jingle jangle
All along the banks of the Royal Canal
Was the mind of Ireland imprisoned during these times?
From The Quare Fellow of1956
A hungry feeling came o’er me stealing
And the mice were squealing in my prison cell,
And that old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
To begin the morning
The warder bawling
Get out of bed and clean up your cell,
And that old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
The screw was peeping
And the lag was weeping…
(SONG BREAKS OFF HERE)
A hungry feeling came o’er me stealing
And the mice were squealing in my prison cell,
And the old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
On a fine spring evening,
The lag lay dreaming
The seagulls wheeling high above the wall,
And the old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
The screw was peeping
The lag was sleeping
While he lay weeping for the girl Sal…
(SONG BREAKS OFF HERE)
The wind was rising
And the day declining
As I lay pining in my prison cell
And that old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
In the female prison
There are seventy women…
(SONG BREAKS OFF HERE)
The day was dying and the wind was sighing,
As I lay crying in my prison cell,
And the old triangle
Went jingle jangle,
Along the banks of the Royal Canal.
ACT III, Scene II (end of play):
In the female prison
There are seventy women
I wish it was with them that I did dwell,
Then that old triangle
Could jingle jangle
Along the banks of the Royal Canal.
To this song provided for The Quare Fellow by brother Dominic we can add along the themes of imprisonment is this universal song.
Director. Martin Scorsese. Cast. Andrew Garfield (Fr. Sebastião Rodrigues), Liam Neeson (Father Cristóvão Ferreira), Adam Driver (Fr. Francisco Garrpe), Yōsuke Kubozuka (Kichijiro), Issey Ogata (Inquisitor Inoue), Tadanobu Asano (Interpreter), Nana Komatsu (Christian Villager #1), Shinya Tsukamoto (Mokichi). Language English. US/Taiwan/Mexico. Drama. Cert. 15. Duration 2hr 41mins.
Silence refers to the God unheard. If your listening, the bat kol that boundary of the divine voice is silent. Over time everlasting God has been silent and in the words of Jesus he alone speaks of the Lords guidance of supreme glory and seeks our passage into the kingdom of God. That is of course a personal view and one about pursuit of truth.
“The nature of secularism is fascinating to me, but do you wipe away what could be more enriching in your life, which is an appreciation or some sort of search for that which is spiritual and transcends? Silence is just something that I’m drawn to in that way. It’s been an obsession, it has to be done… It’s a strong, wonderful true story, a thriller in a way, but it deals with those questions.” – Martin Scorsese
Set in the 17th Century, the film follows two Jesuit priests who face violence and persecution when they travel to Japan to find their missing mentor (Liam Neeson) and propagate Christianity. The priests, Sebastião Rodrigues (Andrew Garfield) and Francisco Garrpe (Adam Driver), arrive in a country that, under the Tokugawa shogunate, has banned Catholicism and forbidden almost all foreign contact. There they witness the persecution of Japanese Christians at the hands of a government that wishes to purge Japan of all western influence. Thousands have already been executed and they eventually convince the Jesuit leader Cairan Hinds, to allow them to travel from Europe to Japan, in the prologue as we are introduced to the subject of finding out the actual whereabouts and circumstances of Liam Neesons fate.
It is through Andrew Garfields as Rodriguez a Portuguese Jesuit Priest who along with Garrpe played by a gaunt and frail looking Adam Driver, the main bulk of the post history of Christianity’s penetration of Japan is told. By enlisting the very dubious help of a guide played by Yōsuke Kubozuka (Kichijiro), who features throughout and is hugely integral as a link between the races, they enter Japan in the remotest island paradise, ironically verdant, beautiful and incongruously capable of sustaining a civilisation without hindered even of any kind. By Gods design. They instead reach a place where the remaining Christian Inhabitants are isolated unable to trade or move and are in a despairingly wretched place barely able to eke out an existence. There are parallel and also isolated village communities which also do not communicate between each other as their memories and fears are ofspies and the inquisitor of severe repercussions that may manifest.
The ‘return’ of missionaries in the form of the brash, over confident, singularly fixed and uncompromising Rodriguez who is the opposite of the questioning, more grounded, philosophical and extentialist Garrpe, gives the Japanese Christians Renewed hope as Kichijiro introduces them to a group of villagers literally on landing. They are welcomed into this fragile barely existing remote territory and the Christian faith is uplifted by their very presence and re-ritualising of the faith. Even confession – that extremely dubious form of thetorical sin and absolution (meaning it is not in the gift of anyone to forgive as only ‘God’ can be asked to forgive) – is performed. Ritualisation and order is established in – and this is fundamental to this religiousity – belief if only in formalised ‘uncertainty’ – and reproach is wasted within the confines of Jesuit minds and Catholicism. That symbolises why the whole embarkation in mission in any age is subjected to ridicule, resentment, manipulation and scorn. The symbolic universality is fixed not flexible in the human hands and ungodlike. Image and theatre which Martin Scorsese is well practiced in is about – as religion is – about storytelling – not about the sciences of universality and human values inherently the same and equal – is employed as a narrative slightly old school as voice over and flashback but impeccably conveyed.
The elucidation in gesture and mannerisms and enunciation of the Japanese and American, Irish Actors is brilliantly delivered. Seldom in modern cinema have I been alerted to the importance of the delivery of language and line as a primary and essential aspect of dramatic filmmaking (Macbeth was the last time when I was conscious of making the required mental shift to adapt to the Scots accents and cadences within the Shakespearian rhythms of speaking as storytelling which worked for me but not as I said in that review for American friends) and as a consequence it makes this story very penetrable at all the levels it sets out to achieve.
Test of Faith
The assurance and confidence of Rodriguez is gradually changed and his character comes across doubt internally building and shaking beliefs at their fundamental level as they do in all that acknowledge it as humans. In the desperation of one young Priest asking God for the truth of the suffering in Japan, we realise the contemporary, familiar desperation known to the faithful and the secular, the atheist, we have no divine right to this life we embrace and share. Less do we know it’s purpose and recoil in the conflict of good and evil in the presence of a creator in silence. Silences are the root and branch of religious devotion and it is to the interior self the analysis brings determination and externally that alteration exists when the ‘real’ world is continuing on its vile course of inhuman acts, unable to listen to the guidance for all. In one moment it is apparent ‘God’ speaks to Rodriguez. In a moment when his faith is tested at the very threshold of his advocacy, in which denial becomes a very real necessity or choice, he is given the advice that forgiveness shall be forthcoming no matter what choice he makes. It is an Abrahamic moment of judgement. Allow the Son to die to live.
Martin Scorsese has crafted a very profound and commanding film speaking ironically of the place of Faith religions in Japan and responding to the questions asked by placing different polarities of a point of view on religion. He does it mainly through the cost of Priests and Christian followers of the infiltration to Japan in early 1600 of missionaries when confronted by National identity. It is when they are called on to reject their faith publicallyband humiliatingly they begin to focus on the Silence. First of these to face the call to reject their religion and faith is Father Ferreira played by Liam Neeson. How come though it takes a no fee director and a cast on a pittance in Hollywood terms and maybe several other chips cashed in production, technical etc, wise, to make a film of this magnitude. It is not a crowd pleaser nor is it pandering to convention in telling – in a year 75 years after the Japanese sinking of several submarines and vessels off Japan causing the loss of thousands of American Servicemen and women? – this narrative which has many many aspects which in any forward thinking civilised community can open up several strands of debate on our relationships in and through religions and with difference and how it is apparent that all choices are of a sacrificial kind. A loss to gain Not a gain to gain and then ultimately loose again.
Tadanobu Asano (Interpreter),
The Japanese inquisitor Inouye, brilliantly, fulsomely, played by Issei Ogata, is almost a Devil incarnate playing with the emotions of Rodriguez when eventually they meet. In several scenes, Inouye tells him that Christianity may be right for Europe, but it is wrong for Japan. Inouye is a supreme leader whose actions he characterised as symbols of his state. His state and control therefore has no need of religion, it has its own as Liam Neeson explains, him having taken the Priest road less travelled and points to the Sun as their Son of God meaning all is in nature to employ gratitude and self identity which invokes astrology and cosmology as brothers in the science of discovery. Inouye is mercurial and believable, a portray creating a real sense of Nationhood and most of these Japanese actors male and female deploy a level of gravitas and characterisation which Scorsese it seems has enabled them to ‘act’ to be unafraid of employing traits and characterisation to inhabit the part and screen. It is absent in a significant part in my view. Of that later. By behaving as a evuncular wise old man with only his nation in mind and feigning sympathy – knowing the universality of religion God or no God undermines regime rule totally.
I think of the new polemic in Poland where feminism is challenged by a virtually statecrun monopoly on religion by Catholic based faith religious, forcing women who wish to have an abortion to underground risks and 10,000 women a year seeking abortions outside Poland. There are now Welfare groups unattached to the issue of abortion being set up to recalibrate woman’s identity through yoga, fitness and general conversation and in relaxing environments.
It is the investment in common factors of emotion Inouye confronts Rodriguez with what he tells him is arrogance and puts forward the suffering he is responsible for in his presence and continual ministry to the faithful. As every religion it is met with its own downfall through separation. It is also the perpetrator of division in areas it succeeeds in bringing nations forward with it. Be it imperialist Great Britain and the Church of England, The Demagogues of Jewish religions in Israel leaving behind the Judaism of their faith, the Catholicism spread as universality while being the foremost hierarchical assembly of Faith preserves on the panet. China and large parts of Africa have no ‘established’ church and few places in Western civilisation have no presence of other than ‘established’ church which all secondary non-established non credal and non sectarian religions are supplanted minor followers in the body faith inherent in human kind.
Yōsuke Kubozuka (Kichijiro)
For this cinematic portrait to succeed as story and story it is, it has been based on the 1966 novel by the Japanese author Shusaku Endo, preceding it and priding that is a level of construction fictionalised through small written texts remaining of the whole failed attempt at Christianising Japan.
Throughout I had a concern regarding the playing of Rodriguez and Andrew Garfield for me lacked credibility in his emotional regard and over involved in lingering looks and stopping his facial expressions as footprints of emotion – frozen faces I call them – not acting is not acting it’s real? – instead of the dexterous and malleable and at times throughly surprising for me who was not a great AD fan, sings and laments as every inflection and word craft is used in its strength ultimately due to the well crafted script into reaching out to the audience to be illuminated in the intensity of meaning. It was thoroughly old school in performance terms and in itself the Japanese and our own duo of Cairan Hinds and Liam Neeson invoked acting as a craft and art form that is very thin on the ground in a lot of modern films. Meryl Streep has stood up at the Globe Award ceremony having a set delays stab at Donald Trump while her curios Albert Nobbs or Florence Foster are not in my view ‘acting supremacy’ – the kind of performances we see too often and the yet Meryl Streep gives in to the trope of being a character actor in the way Glenda Jackson never could nor does/did.
It will be sometime before it is realised how important this film is in the Martin Scorsese filmmaking library. Before have come works of dramatic historical and societal challenge. Each constructing a view of the world based on real events and characterisations of the stories they inhabit. This is no different. The Last Temptation of Christ took on a historical figure and the most significant of all and he layered his own telling of the quest within the Bible to his own imagined extrapolation. It formed a huge divide in opinion as it was partially construed as sacreligious and wild imaginary diversions not appropriate to understanding. Given the Protestant claim at the time of Erasmus and the reformation as belonging to the Mother of Jesus born of a young woman as the Bible actually states, not the Virgin Mary extolled by the Catholic Church, the pRotestant faith claimed itself to be more Catholic and since the division erupts from time to time. On the origin of Jesus religions bent and twist. Aristotle included. The ultimate repost is – What is important? The baby Jesus being the child of God or Mary as the Mother of Jesus. Provide your own analysis but it is plain what faith resides in.
The film captures so many levels of understanding it would serve many to examine the questions which Martin Scorsese provides elements which concern mankind and the search for truth and peace among mankind. So it not only looks superb and atmospheric depicting a very beutiful, intensely civil, complex and challenged Nation, – except the filming takes place in America/Taiwan/Mexico – it shows all sides of the existence of humanity and questions versions of our origin and ultimately challenges all to consider our creator and our need to fulfill the morality and lawfulness of rational organisation of our life’s and sustaining time.
It is a film which is calling people to listen, hear and be enlightened.
11 January 2017
Continues on General release and at Queens Film Theatre until 19 January 2017
Directed by Anne Fontaine, Produced by Éric Altmayer, Nicolas Altmayer, Philippe Carcassonne. Written by Sabrina B. Karine, Pascal Bonitzer, Anne Fontaine, Alice Vial. Based on an original concept by Philippe Maynial. Cast. Lou de Laâge, Agata Kulesza, Agata Buzek, Vincent Macaigne. Music by Grégoire Hetzel. Cinematography Caroline Champetier. Edited by Annette Dutertre. Production company, Aeroplan Film, France 2 Cinéma, Mandarin Cinéma, Mars Films, Scope Pictures. In French, Polish and Russian with English subtitles. Cert. 15. Duration: 1 hour, 55 minutes.
Polish Immediate Post-War Recovery
From the same era and almost same territory as the highly rated, superb Ida comes another overwhelmingly harrowing war story. This is a Franco-Polish tale of founding of new live’s, of Mother and child which is based on a true story set in the immediate aftermath of the Second World War. The principals include the French Red Cross Nurse, Mathilde Beaulieu, (Lou De Laâge) tending soldiers injured at the local hospital who is asked by a Nun, who has found her after trekking through a forest from her Convent to the Village nearby. The Nun seeks her help and her task is to tend to a Nun at the Convent and in secrecy. Having persuaded her, in a visionary way they set off in her Red Cross Twnsporter back to the Convent were the actual scenario quickly becomes established. The Nun has been a victim of retreating Russians who left their calling cards. As told to the Nurse she is first inclined to report it to the authorities – Polish and Russians still in joint occupancy – but the Mother Superior (Ida actor Agata Kulesza, the Judge and Aunt who drove Ida back to her roots) of the Benedictine Convent has to relent as here could be more suffering. Through the French speaking Nun named Maria (Agata Buzek) acting as translator and the closed order has a newcomer and this is where the story starts to unfold. It is a case of dealing with new life in each and putting away thoughts, however ludicrous to outsiders, of shame. So the the characters set before us initially; more or the order become involved, are three Nuns. The Abbess who rules with a fierce discipline, Novice Nun Maria who is a focal interpreter of both language and emotions, then the Novice Nun Zofia who has been victimized by the Russians. To see this trio as the holy trinity is an elastic take but one is the fundamentalist, one is the mediator, one is the innocent victim. Mathilde is the fulcrum of the outside unknown world the order are enclosed from. They have also to pass through to the next phase when the novices adopt the order in its fullest sense. So we are on the cusp of desparate problems and challenges for all.
Mirrored worlds old and present.
The layers are twin emotional opposites but mirrors. The Order of Nuns obviously regard themselves wedded to Christ and there has been a violation of the most personal kind with as a consequence, the horror of confronting the thought God has permitted this to happen. Novice Nun Zofia is he first to be traumatised in the act of childbirth. Her rape has been supressed within her and now this revisiting is the symbol and token of shame and is now present in a new form of life. This is potentially the destruction of all their concepts of God other than Mathilde who is intent on saving life.
She is the other side, the beautiful practical, skilled,French Nurse whose primary aim is to ensure all life she comes across is maintained and taken care of. The thin line traversed between these seemingly inextricably linked forces is brought out with feminine sisterhood and morality being upheld through the living forms they share. Hence the initial gesture of the Abbess relenting and allowing her into her world. She has also secrets throughout and is in quickly failing health a legacy of the past. Being accepting of medical assistance pushes the limits of her faith. Here Agata Kulesza portrays the angst as torridly as she dealt with the delusions of War in Ida and he aftermath when she became reduced to a small court circuit judge dealt out tokens of Law when the greater magnitude of injustice had justed been visited upon an entire continent. Here the stakes are no less explicitly defined. The magnitude is the depth of depravity that ranges up into the lives of the Innocents, the sinfulness of the world which is now brought inside their order and is seen as part of the grand design and mechanism of Divine worship. The merest consolation is as directed by the Abbess, to the devotion to prayer and it is little reconciliation with the outside, now inside world.
Mother Superior has the role of being a defender of the faith and ways of the Lord which she summons up the most fervent chains of belief which have the capacity to devour her devotion in the midst of this conflicting maternal grounding. Along with this the effect on the Nuns, Maria and as some others reflect on their lives among men, discuss it now with the core central presence of Mathilda, one which facilitated new thought. Mathilda herself is set some challenges which she submits too comfortably to and with greater ease than you might expect. The strands of personality are thus shaped into very individual needs and the Mother Superior’s world is the one with the greatest challenges it seems.
Inspired by the journal notes of Madeleine Pauliac, a young French Red Cross doctor who worked in Poland at the end of World War II, “The Innocents” (which was called “Agnus Dei”) it is set in 1945 Poland occupied by Russian troops with the opening frames are within the Convent of the Benedictine closed order of Nuns at Daily prayers. From this capsule of peace and tranquility will spill the infiltrations of the Outsiders and those still surrounding them. It is graphic in its gripping sense of evil and wickedness as visited upon this location and still resonates with seclusion, self denial, faith and feeling interlaced with God and humanity all subjects around today. The portrayal of beauty is the tangible simplicity of core inner beings and the imperious self reflection done through denial of all objective things and this is how the scenes, drama is thrust forward relying on phrases looks and almost minimal monotonal effects.
Mathilda has to keep the whole presence of this secret inner Convent story away from her colleagues she travels back and forth to, for fear of bringing down the Orders whole presence and she is not least tasked in this, through her male colleague a Jewish French Doctor whose parents went to the Bergen-Belsen Concentration camp. He is Samuel (Vincent Macaigne) is a self deprecating suitor of this young and beguiling Nurse.
While this film pushes the limits with heartfelt tremors of emotion which will have many coming away sickened, elated, coruscating about the needs of women of all timescales, elements of history, not having the instilled goodness to life according to need, the story does take some fairly plain, consoling overtures and simplifies certain aspects for the sake of film making I guess. It reaches conclusions rather too radidly and conversations which begin to explain the personal hidden views and they vary immensely, are unfortunately short while centrally illuminating. Each Nun has a reason or belief drawing her into this Christ union. A book I’ve read, probably one of the finest, is a short true story of the early life of Through the Narrow Gate: A Memoir of Spiritual Discovery Paperback – January 27, 2005 by Karen Armstrong (Author) telling of her time as a novice and the considerations she had to make.
The look and feel of story telling.
The appearance of the film is vivid and lucid like a representation of renaissance painting having moved on from being as the allegorical Biblical paintings preceding, telling a story from the Bible. Here the framing and cinematography is a moving interpretive painting elegantly disposing of its interior messages as much through dialogue and expression as in giving a sense of separateness the film has concerning these Nuns in their secluded life and the contrasting confounding outside which has only just set down, temporarily the guns of war. They have to deal with the violation of a deeper self and abortion is not among their options. Where this seems to stand up for Anne Fontaine and the writers is the contrasting of certain worlds. As of today and victims of rape they are no different circumstances but simply deeper questioning f where morality has taken us. The sin is first in the war and in the belly of the warring soldier is a desire to shed his guilt through violence upon women as a deliberate defiant act. An expression of the lost masculinity war invokes. The experience opposite to its portray and as betrayal of themselves as human beings. Anne Fontaine has a sharp story with which to explore those aspects however simplified some elements here turn out.
This is perhaps an attempt at a redemptive film but I see the conclusions not informative of the unique experiences then or as they intend to advance. Too many loose ends are bundled into neat reflective outlets. It nevertheless stunningly grasps its raw material as insight and is told without judgement, a surprising word to use as the actors have to convey the differences and complex challenges it makes of their own vocations. Even the Nurse has to seek out her own values and then separate them from her ability to help everyone. This film covers war, rape, religion and all strands of humanity in trouble and as a quest for understanding how these issues have and are being dealt with will stimulate many more discussions and create better informed views hopefully. It is thoroughly recommended as one of the Best Foreign Films of the Year in which there are several other excellent contenders including Son of Saul which was itself a Polish depiction of a the Concentration camp at Berger-Belsen and as such fits into a set of unknown or barely conceived brutality which film makers now take on with greater clarity and effectively.
17 November 2016
THE INNOCENTS will screen at QFT from Fri 18 – Thurs 24 Nov.
Well worth the effort in going to see and the large widescreen does amplify the experience.