“Revolutionary fantasy - Enter Stage Right” plus 3 more |
- Revolutionary fantasy - Enter Stage Right
- A brief note on Jerusalem - Al-Ahram Weekly
- Celebrating Twain's adventures, 100 years after his ... - Lincoln Journal Star
- Alan Sillitoe - Daily Telegraph
Revolutionary fantasy - Enter Stage Right Posted: 25 Apr 2010 05:11 PM PDT Revolutionary fantasy By Daniel M. Ryan Watchers of the Tea Party movement have noticed an odd dichotomy: they've been portrayed as a bunch of dangerous characters, shelterers of violent extremism, a force of disruptive troublemakers, by the usual sources. And yet, eyewitness reports and footage of real Tea Party protestors have shown little more than rambunctiousness. No clashes with the police, no vandalism, hardly any litter. They say their piece and they go back to their lives. No hint of any professional agitators egging people on to disruptive, let alone violent, acts. It's almost as if a Boy Scout troop was accused of harboring a crime ring. Plot devices are one thing; they attract us in part because of their exciting implausibility. The very implausibility makes them exciting. How many of us, outside of people who work in one, have ever heard the phrase "Code Blue" in a hospital? Fiction is one realm; fact is another. A lot of fiction tends to play upon our tendencies to hysteria, in the non-clinical sense. Even the most unassuming of us would sometimes like to believe that things are the opposite of what they seem. The boring old town with right-living folk has dark secrets; the boring old house has a clothes cupboard that leads to a magical exciting land. The people who seem rather predictable have secret lives that are titillating or exciting, or disturbing. The good ol' dependable wallflower has secret powers and is busy saving the world while everyone's ignoring him. The irascible cuss is actually a supervillain out wreaking havoc and killing people. And, of course, the stolid butler was the one who did it. Either that or the cop. Normally, the bounds between the two realms are pretty clear. To a degree, all fiction is escape fiction. Not being tied to the facts is what given fiction its distinctiveness. In normal times, the only people who have difficulty distinguishing the two stick out like a sore thumb. Nowadays, though, the distinction is more widely blurred. Look at all the "non-fiction fiction" there has been disseminated about the Tea Party crew. A consummate outsider would find the whole imbroglio amusing. The Tea Party movement, to someone who has no knowledge of the United States or its political drama, appears to be sized up as revolutionary insurgents. The liberals bashing them would appear to be the reliably Tory guardians of the Old Order, treating the Tea Partiers as if they were a revolutionary threat poisoning the minds of the embittered lower orders. From what I've read and seen, the Tea Party movement is filled with people who take politics – and their good names – seriously. They're too serious to act like the adolescent Left, who like to chortle about scaring "the Man." Bill Clinton got criticized for his recent statement suggesting that the Tea Party contingent may be nurturing new Timothy McVeighs. Had the sides been reversed, he would have been treated as a joke…as someone whose goat was got. Exciting Dramas… It seems only a matter of time before the tea party movement is sized up as a fomenter of revolution. Let's face it: there is a bit of blur in the line between fiction and fact; as standards keep going the same direction we know they are already, the line will get even more blurry. One of the entry points for "non-fiction fiction" in politics is revolution, an exciting drama for those who are safe from it. There are a lot of quasi-fictional narratives about revolution, most using certain politico-economic metrics like science fiction authors use discoveries in the hard sciences: as plot devices. Untangling the real thing takes a lot of work, and an unusual amount of dispassion. Since successful revolutions always appeal to universal values, that dispassionateness is mandatory. Despite the name recognition of another intellectual, the man to beat in revolution studies is none other than Alexis de Tocqueville. His The Ancient Regime And The Revolution, although merely a history of pre-revolutionary France, had a model that applies to a lot of revolutions since. The key to understanding his work are these two points: the grievances complained about were mostly remedied by the late Ancient Regime, and the revolutionary Republic's reforms were in many cases a formal endorsement of advances that the Ancient Regime had enacted, was on the way to enacting, or was arguably on the way to enacting. It's a known fact that Louis XVI would have stayed on the French throne after 1789 had he agreed to a constitutional monarchy like Britain's; he had that chance until 1791. His refusal to do so is one of the reasons he's thought of as stupid. The fact that it was offered him in the first place suggests that he was thought of as reasonable. Had he been the tyrant that lurid legends pronounce him to be, the revolutionaries of 1789 wouldn't have even bothered. The Romanian revolutionaries in 1989 didn't palaver at all with Nicolae "Draculescu" Ceauşescu. Not only French but Russian history shows that revolutions are preceded either by liberalizations and/or granting of privileges to the commonfolk. The Marxian interpretation of this, we've heard too much of. One take we've heard too little of is the blood-and-guts cynic's, namely: the reforms made, their order, their pace and their implementation showed to the multitude that the existing order was weak enough to overthrow. Interestingly, the American experience gives a hint as to another element not often mentioned: alienated from the existing order, the ordinary folk assume the functions of government themselves…often without any formal authority. As a result, the formal authority becomes more and more irrelevant to ordinary people's lives. This was the case in the United States by 1775. …And The Real- Life Obverse Although distressing to some, the blood-and-guts approach tells some home truths that are sometimes needful. The British authorities in the American colonies were weak. One of the reasons why there were so many jailbreaks in pre-revolutionary times was that the jails were easy to break into. Moreover, the low taxes that Americans paid at the time were balanced by minimal government services. (No, there wasn't too much sterling spent on the colonial jails.) In many cases, the American governed had to govern themselves outside of any formal authority structure because no-one else would. Yes, this included fending off the natives and sometimes attacking them. In more peaceable times, the colonial authorities appreciated this because it kept their costs down. Before Lord North, the chief reason for crackdowns resulted from native people's complaints about the colonists being too aggressive. Even the quitrent, or property tax, collectors were easygoing. In addition, the Redcoats had no idea how to fight a war against insurgents. They didn't know the land; the colonists did. Also, despite the unofficiality of the colonial troops, they were a good match for the redcoats as a fighting force. The "armed mob" that the militias were, were fairly up on tactics and carried arms which were not all that inferior to the Redcoats'. Yes, it's true that the present government of the United States is nothing like the late-colonial government. Taxes are much higher; the corpus of laws and regulations is huge instead of minimal. Most U.S. government spending can be considered largesse; there was effectively none in colonial times. The U.S. government is much bigger, much better staffed, deploys a lot more resources and material, and is much better armed relative to the governed than the British authorities ever were. The soldiers at the time and place of the Boston Massacre only had muskets. What was at Waco? Granted that the blood-and-guts perspective leaves out a crucial element, but it does shed a valuable light as to the logistics of the situation. Any would-be group of new American revolutionaries would not only be vastly out-armed, but also would be vastly outmaneuvered. In a very real way, thanks to post-modern surveillance technology, there's no place to hide. Or there won't be soon. America, after all, is not Afghanistan. I did mention leaving something out, and that's the will to use what one's got. There were two crucial weaknesses in the ancient regime at the time of 1789: lack of money and lack of will. The government of Louis XVI was bankrupt; that's why the Estates-General was called in the first place. In addition, a large segment of the rulers had gone native. It's a fact that the reliable liberal bloc was the aristocracy. De Tocqueville himself mentioned that many a bureaucrat was Rousseauesque in his communications. When Rousseau died, before 1789, his funeral in Paris was close to that of a national hero. Given that the 1789 reform movement flew under Rousseauian colors, the rulers were all-but disarmed at the values level. That unity of values is what made reform, and a new unity without bloodshed, seem possible. Of course, that dream turned into a nightmare. At this level, there's little sign that American government officials have gone native in that way. They're still holding up their prerogatives, particularly tax prerogatives. As far as the governed are concerned, there's little will to do anything beyond petition for redress of grievances. The libertarian cleavage of society into rulers and ruled is only common-sensical at the talk level. Conclusion As the both the matèriel and values angles show, the United States is nowhere near a pre-revolutionary state. The governing class is still self-confident – if anything, a little too self-confident – and the weapons imbalance heavily favors the government. Any band of revolutionaries would be hard-pressed to mount a successful prison break, an act that the American colonialists found easy to do. All fictions aside, the claim that the Tea Party movement is a harbinger of any revolutionary or insurgent tendencies is little short of ludicrous. Someone who believes the opposite is best pegged as overly entertained. Daniel M. Ryan is currently watching The Gold Bubble.
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A brief note on Jerusalem - Al-Ahram Weekly Posted: 25 Apr 2010 01:58 PM PDT
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Celebrating Twain's adventures, 100 years after his ... - Lincoln Journal Star Posted: 24 Apr 2010 09:44 PM PDT This is a big year for the man born Samuel Langhorne Clemens: 2010 marks the 175th anniversary of his birth, and Wednesday was the 100th anniversary of his death. In his 74 years, the man better known as Mark Twain gave us words. Many, many words. A wealth of witticisms. An endless stream of facts and fictions, factual fictions and fictional facts, "some of which actually happened." He left behind at least one masterpiece. Gone for a century, Twain remains America's most endlessly relevant writer. We still read his books. We still use his thoughts to express our own. "We're still attracted to his way of seeing and expressing himself 100 years after his death," said Michael Kiskis, a professor of American literature and a Twain scholar at Elmira College in Elmira, N.Y., where Twain is buried. "That's very special. That doesn't happen with many writers." Twain poses a contradiction of sorts. He was the quintessential man of his time and place, not "an American, but THE American," he called himself. His works are as evocative an account of 19th century America as any. And yet, we read him not just as a document of the past. He feels modern, even prescient now. Twain still matters because a thought perfectly expressed has no shelf life. And a good story's always a good story. Whenever. What Twain teaches us about tweeting Did you know Mark Twain has a Twitter page? He hasn't been too active since the early part of 2009, but he still has about 1,900 followers. It's not surprising that Twain's most memorable musings fit the website's 140-characters-or-less format quite well. What's surprising is how much his tweets sound like they were written last week. "I was gratified to be able to answer promptly. I said I don't know." "If you tell the truth, you don't have to remember anything." "The coldest winter I ever spent was a summer in San Francisco." With his ability to express an idea quickly and humorously, Twain might have fit right in with our young, brevity-obsessed generation. "He was great at capturing a specific thought in a very tight frame, which is very modern," Kiskis said. "He would have been a great advertising person now. He would know how to catch your attention and finish your thought in a couple sentences." Twain's sayings seem off-the-cuff, created in a fit of wit. But the writer slaved over them. His journals depict a constant process of writing stuff down, crossing parts of it out, shuffling words around and paring a thought down to its essence. He worked unbelievably hard at the seemingly effortless. He once wrote that he would have written less if he had more time. While Twain might have been a great tweeter, he likely would have scoffed at most tweets - and text messages and e-mail and Facebook status updates and any other 21st century form of communication. In an age where everyone's a writer, almost no one chooses his words carefully. "Twain wasn't just about brevity for brevity's sake," Kiskis said. "You can be brief but stupid, too." A tweet like, say, "Just got back from gym. Going 2 grab some Wendy's," would have likely made Twain's bushy white brows furrow and confirm something he once said: "Often it does seem a pity that Noah and his party did not miss the boat." That's only 71 characters. 'The nation's first rock star' That's what Twain biographer Ron Powers called him. "At the close of the Civil War," Powers wrote, "Americans were ready for a good cleansing laugh." Twain traveled the world and held large lecture hall audiences rapt with his backwoods dialect and funny stories. "So many schoolchildren read Mark Twain in the classrooms," said Barb Snedecor, director of the Center for Mark Twain Studies at Elmira. "But I don't think we get a clear enough picture of the celebrity status of this man." His rock star status went beyond U.S. borders. When Twain undertook his world tour near the end of the 19th century, he was known across the globe. "He was not just dominant in the American consciousness," Kiskis said, "but also a major influence in the rest of the world." Despite his work being about the American experience, the tales transcended cultural barriers. If a good story's a good story whenever, a good story's also a good story wherever. 'The father of American literature' William Faulkner called him that. Ernest Hemingway said, "All modern American literature comes from one book by Mark Twain called 'Huckleberry Finn.'" Why does a story about a mischievous river rat and a runaway slave drifting down the Mississippi still resonate? Well, it was a good story, one that spoke to one of the great themes of American literature: the search for freedom. But the influence of the language can't be overstated. "Compared to the generation of writers before him," said Nebraska Wesleyan University professor Larry McClain, who teaches U.S. literature, "there's much less of a self-consciously anglophilic voice. Whitman in poetry and Twain in fiction were the first writers to really successfully use the American idiom." Twain's Huck and Jim talked like people talk: vulgar, uneducated, teeming with the colloquialisms of their dialects. At the time, that was revolutionary. "Twain looked forward to modern literature, said that characters ought to speak in their own language," McClain said. Characters like Hester Prynne and Captain Ahab don't speak like real people. "But Huck Finn sounds like someone we know." Even now. Mark Twain sounds like someone we know, too. "There's a timelessness about what he said, which is true of all great writers to some extent," Snedecor said. "What he said still rings true today. It's contemporary even though it was said more than 100 years ago. That's just so mysterious and wonderful to me." Reach Micah Mertes at 402-473-7395 or mmertes@journalstar.com.
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Alan Sillitoe - Daily Telegraph Posted: 25 Apr 2010 10:44 AM PDT The best-selling Saturday Night and Sunday Morning (1958) and The Loneliness of the Long Distance Runner and Other Stories (1959) both chronicled the hopeless prospects, drunkenness, casual fights and drab sex lives of young working class men of that era. In his earliest work, before his powerful sense of social injustice began to dominate his fiction, Sillitoe created plausible, complex youths who rebelled against the establishment, epitomised by parent, policeman and boss. Inevitably his work chimed at a time when youth culture and adolescent anger were beginning to dominate the media through the work of John Osborne, Brando, James Dean, JD Salinger and the still-embryonic pop music. But to consider Sillitoe solely as the author of two adroitly-timed works would be to diminish both his status and the art he brought to his craft over four decades. Among his further novels, collections of poetry, screenplays, essays, plays and children's books, Sillitoe developed his themes and understanding of humanity and began to internalise injustice, to reflect oppression on the workings of the human psyche. If his life's work forever explored the privations of his upbringing, in his maturity his singular characters were touched by the universal. Alan Sillitoe was born in Nottingham on March 4 1928. His father was an unskilled labourer, often unemployed, and the family was perpetually moving to avoid the attentions of rent collectors. He was educated at local elementary schools from where, despite an early enthusiasm for English Literature, he failed to pass the entrance exam for the local grammar school and he left at 14. Three months into his first job, at the Raleigh bicycle works, he walked out in a dispute over pay, and worked briefly in a plywood factory before becoming a capstan lathe operator until he joined the Ministry of Aircraft Production as an air traffic control assistant in 1945. The following year he enlisted in the RAFVR. Although he was initially accepted as a pilot, the end of the war with Japan had rendered further pilots unnecessary, and Sillitoe served as a telegraphist and radio operator in Malaya. In 1948 he was diagnosed with tuberculosis and spent 16 months in a military hospital, where he began educating himself by reading Greek and Latin classics in translation. He was also deeply influenced by Robert Tressell's The Ragged Trousered Philanthropists (1914), a portrayal of lower class Edwardian England that Sillitoe found did not treat the working class as caricatures. In 1949 he wrote his first novel and left hospital with his discharge papers and his first rejection slip. In 1952 Sillitoe and the American poet, Ruth Fainlight, moved to Europe and lived for six years in France, Spain and Majorca, surviving on his limited RAF disability pension. He wrote steadily — short stories for magazines and unpublished novels — even writing on book covers when money was too tight to buy paper. At the suggestion of the poet Robert Graves, whom he met in Majorca, he began working his short stories about life in Nottingham into a novel. Saturday Night and Sunday Morning was an instant critical and commercial success. Its portrayal of Arthur Seaton, a rebellious factory worker and amoral adulterous lover, was praised for its unsentimental evocation of working class existence. The novel established many of the themes that were to occupy Sillitoe throughout his life: social injustice, the "bunker" mentality of the working class, the mindlessness of their only realistic employment and the consequent banality and ephemerality of their lives. Having moved to London, Sillitoe published, to great acclaim, The Loneliness of the Long Distance Runner and Other Stories which won the Hawthornden Prize. The collection included some of his finest work, but it was the title story, in which a Borstal boy deliberately loses a race he is capable of winning in order to spite the governor and so retain his self-esteem, which won particular praise. Sillitoe's eagerly awaited third novel, The General was published in 1960, the same year in which his screenplay for Saturday Night and Sunday Morning was successfully filmed, and made a star of Albert Finney. With its portrayal of extramarital sex and raw melodrama, it transformed British cinema and was much-imitated. The General, on the other hand, unmemorably filmed in 1967 as Counterpoint, was savaged by the critics, who accused Sillitoe, not for the last time, of allowing his politics to diminish the fiction. There was a similar reaction to Key To The Door (1961) which followed Brian Seaton, the older brother of Sillitoe's original protagonist, from childhood through his National Service in Malaya. The novel included some of Sillitoe's most vivid writing, but this was outweighed by heavy-handed political philosophising and a weak dramatic structure. He concluded the Seaton trilogy in 1989 with The Open Door, which described Brian's return from the Far East and his attempts to become a writer. Although well received, there was a wistful sense of an ageing author returning to the scene of his greatest triumph. After The Loneliness of the Long Distance Runner had been successfully filmed with Sir Michael Redgrave and Tom Courtenay in 1961, Sillitoe moved his family to Morocco. In Tangier he wrote The Ragman's Daughter (1963), which was filmed a decade later and which displayed an increasingly simplistic depiction of the oppressors and the oppressed, and an exhortation to violent insurrection which denuded the characters of their psychological complexity. Sillitoe's view of Britain withered further after a trip to Russia as a guest of the Soviet Writers' Union, an account of which he published in Road to Volgograd (1964). In 1964 and again in 1966 Saturday Night and Sunday Morning was unsuccessfully produced as a play, and his own production of Lope de Vega's play All Citizens Are Soldiers met a similar fate. By now Sillitoe was commuting between England and Spain and, in transit, he published his Frank Dawley trilogy, The Death of William Posters (1965), A Tree on Fire (1967) and the disastrously delayed The Flame of Life (1974). These novels follow Frank Dawley, who forsakes his family for personal freedom and enlists as a revolutionary in Algeria before returning home to rabble-rouse from the base of his utopian community. Overwrought, with an excess of theorising, stylistic superfluity and little narrative tension, the trilogy did little to enhance Sillitoe's reputation. Although Sillitoe considered himself a poet, and published volumes of poetry throughout his career, the critical response rarely raised itself above the mildly positive. More successful was his collection of short stories, Guzman, Go Home, and Other Stories (1968), and the picaresque novel which he wrote in the comic manner of Fielding, A Start in Life (1970). In 1971 he was fined for refusing to fill in a census form, after which he travelled on the Continent for a year while he wrote the Orwellian political fantasy Travels in Nihilon (1972) which described living in a nihilistic state. The nihilism described reflected the work's reception — a mixture of critical reserve and public indifference. By contrast, Raw Material (1972), which interwove novel and biography, philosophical speculation and family history, aroused great interest. A further collection of stories, Men, Women and Children (1973), including one of his finest short fictions, Mimic, in which a man tries to cope with life by imitating it, was also well received and marked a return to form in his portrayal of human complexity. If his work was becoming less cumbersomely political, Sillitoe remained committed beyond his literary life. He attended Unesco conferences, criticised the Soviet treatment of Jews and was stridently pro-Zionist., His increased focus on the individual dominated The Widower's Son (1976), which traced the breakdown of a working class army officer's marriage, using marriage as an extended metaphor for war. He also wrote three plays for television, his first — warmly received — children's story, Big John and the Stars (1977), and spent two months in Jerusalem at the invitation of the mayor at the Mishkenot Sha'ananim, a retreat for celebrated writers. Sillitoe's tenth novel, The Storyteller (1979), was his most ambitious, charting the decline and suicide of a schizophrenic mute who is overwhelmed by the characters in his head that people his stories. In the book, distinctions of fantasy and reality are blurred as, analogously, they are in the work of any novelist. In The Second Chance and Other Stories (1980) Sillitoe developed this theme, dappling his tales with acting, mimicry and masquerade. Throughout the 1980s and 1990s Sillitoe continued to expand his range as a novelist. Although he mined working class Nottingham for Out of the Whirlwind (1987), he wrote a traditional adventure story in The Lost Flying Boat (1983), in addition to further volumes of poetry and stories for children. In 1994 he published his autobiography, Life without Armour, which enabled his readers to attempt to establish where the young Alan Sillitoe ended and the young Arthur Seaton began. If Alan Sillitoe never regained the fame and focus of his early years, he nevertheless produced a substantial and variegated body of work that was, when taken as a whole, probably as underrated as his initial success, though undoubtedly merited, was excessive. Sillitoe was a mild-mannered man who remained committed to political causes and social justice throughout his life. A workaholic, he relaxed by travelling, taking bicycle rides in the Kent countryside and tuning into foreign stations on his radio transmitter. He married Ruth Fainlight in 1959. They had a son and a daughter. Five Filters featured article: Chilcot Inquiry. Available tools: PDF Newspaper, Full Text RSS, Term Extraction. |
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