Tuesday, 24 July 2007
‘… If only ten or twenty Negroes had been put into slavery, we could call it injustice, but there were hundreds of thousands of them throughout the country. If this state of affairs had lasted for two or three years, we could say that it was unjust; but it lasted for more than two hundred years. Injustice that lasts for long centuries and which exists among millions of people over thousands of square miles of territory, is injustice no longer; it is an accomplished fact of life. Men adjust themselves to their land; they create their own laws of being; their notions of right and wrong. (…) Your Honor, injustice blots out one form of life, but another grows up in the its place with its own rights, needs and aspirations. What is happening here today is not injustice, but oppression, an attempt to throttle or stamp out a new form of life. And it is this form of life that has grown up here in our midst that puzzles us, that expresses itself, like a weed growing from under a stone, in terms we call crime. Unless we grasp this problem in the light of this new reality, we cannot do more than salve our feelings of guilt and rage with more murder when a man, living under such condition, commits and act with we call a crime…’
With these words, defence lawyer Boris A Max puts the entire American society in the dock in the closing pages of Native Son. In order to understand the flaws of the American War of Independence and its subsequent Civil War, we needn’t look further than Bigger Thomas, here characterising the uneducated black man, coming from the lowest rung on the American social and economic ladder. As his options comprise no more than menial jobs, Bigger’s life becomes a trap, which feeds him nothing but resentment and hate. He fears the whites, who determine his existence and this fear makes him see the white race as a collective that tells him where to live, where to work and what to do.
The setting of the novel, black and white colours with shades of grey thrown in and cloudy skies, eases the reader into the desperate plight the main character, Bigger Thomas, has. He is the focus of the novel and the embodiment of racism in the psyche of its black victims. Bigger and his compadres suffer from a popular assumption that whites are sophisticated whereas blacks are either subservient or savage. All throughout the novel and up until the dénouement Bigger’s thoughts change from shame (of his family’s abject poverty) to fear (of the whites who control his life)
Native Son is one of those novels that, although they focus on social and political issues, draw heavily from the work of other writers whose oeuvre might not be directly related to the issues raised in the novel in question. In this case it's that other great American writer, Edgar Allan Poe whose short-stories are the leverage that produce the effect in the novel . In Native Son, I saw clearly ‘The Tell-Tale Heart’. The feeling of paranoia caused by the ‘vulture eye’ in ‘Tell-Tale Heart’ is on a par with Bigger’s mix of hate and fear towards Mary Dalton. The criminal modus operandi is the same. Both perpetrators smother their victims. They both stay in the same room where their dead victim is, as the police or investigator search the premises. They both panic in a moment of self-consciousness. Poe’s narrator begins to hear a faint noise that grows louder and louder. Bigger avoids replenishing the furnace. The atmosphere is the same, repressed, silent, grim and cold.
There’s an important lesson in Native Son and it’s mainly aimed at the liberal, white, middle class person. Mary Dalton, the victim and turning point in Bigger’s life, professes a benign type of racism, one whose own naïveté escapes its owner. Richard Wright, very deftly, criticises Mary’s attitude towards blacks, and specifically towards Bigger. Her youth and immaturity do not allow her to see beyond those rose-tinted spectacles she wears and therefore she fails to recognise Bigger’s signs of confusion and surprise when she approaches him in a such an open and friendly manner. Her assumption that Bigger will accept her friendship proves to be one of many fatal errors she and Jan, her boyfriend, make.
This is not to excuse Bigger. I wrote in the first part of my analysis of Native Son that as a father and husband, Bigger’s deeds tested my liberal credentials. They still do. But I feel now in a much better position to judge, and not too harshly, this human being who, rather than acting, was re-acting to the society that put him in that condition in the first place.
Thursday, 19 July 2007
I'm in Kundera's territory now. And I had to swim to get here. There I was, tormented by my recent reading of Richard Wright's book, The Native Son (more to follow) when I caught myself looking quite attentively at Mr Kundera's 1991 effort to explain the theory behind immortality. Or should I say, to ask us questions about it. Because that's what Messieur Kundera enjoys doing. I was the hopeful and confident reader sitting comfortably on my beach, when up in the distance there appeared this thoughtful piece of work. I knew that in order to reach that opposite coast, I would have to get wet, and reader, I am soaked.
Soaked but happy. Kundera starts the novel in the same fashion as he did in 'The Unbearable Lightness of Being' and 'The Joke'. A casual observation becomes a philosophical dictum, in this case, the intrinsic relation between who we are as human beings and how we want to be seen and remembered as... icons, despots, poets? No, reader, dictum is actually the wrong word as Kundera does not so much impose his views on us as he asks us to re-consider the ancient question as to how we would like to be remembered. He already assumes that that is as much a human trait as sleeping or farting. For Kundera, the plot, as usual, is nothing but a means to get to an end. In this case, his end is to explore the nature of of human relationships, amongst ourselves, and with ourselves, and also with our selves. Very important the last one. No wonder the man got a degree in philosophy. But he doesn't preach, he teases. 'Immortality' is full of playful moments and it's always a joy to find a writer having fun whilst writing. You might think that sentence an oxymoron. 'I thought that writers always had fun when writing'. Well, no, the majority of writers want to write the perfect novel and when they finally realise (either after finishing writing it or handing it in to the publisher) that all they have is a simulacrum, and a poor simulacrum at that of their dream, they fall into despair.
Because the novel must be true to itself, and Milan Kundera understands this better than most people. Like a good sculptor who concentrates their efforts on first, to make and then erect a statue, the process is everything Kundera cares about. Immortality is divided in seven different stories and each one of them deals with this concept in various ways, but throughout them all the thread is the same, I want to be remembered.
There's repetition in Kundera's oeuvre, but he'd already made it clear in his masterpiece 'The Unbearable Lightness of Being' (by the way in both Spanish and French, the title is 'The Unbearable Lightness of the Being' and I think this semantic difference is important) when he proclaims his famous 'Es muss sein'. Actually, it's not him, it's Beethoven, but let's not get picky, shall we? At times, I feel like asking him the question: 'Muss es sein?', only for his answer to surely be: 'Ja, es muss sein'. And it makes sense. Through his repetition of phrases and ideas, he shows the evolution and the interrelation of the situations he describes. But, then again, Kundera is like marmite, either you like him, or you don't. As a writer, he's a agressively intelligent and in countries like the UK, where self-effacement and self- deprecation are national sports, this seriously damages the relationship between reader and writer. This novel, Immortality, whose central theme seem to focus (I have not finished reading it yet) on both the individual's immortality and that of the novel, or art, broadly speaking, defies the very idea of collectivisation lauded so much in the first few decades of the 20th century. Also, historical figures, like Napoleon and Goethe, get given walk-on roles, not so much for what they achieved in their lifetime but for how they went about trying to achieve their immortal status, Napoleon by sticking his right hand through his coat, Goethe by rejecting and accepting later a former paramour. It's similar to the chapter in 'The Unbearable...' where Kundera equates divine powers with excrement. It's hilarious, but the laugh is inside, it's a knowing giggle. And it stays.
I'm in Kundera's territory and I'm enjoying every single minute of it.
Wednesday, 11 July 2007
Monday, 9 July 2007
Thursday, 5 July 2007
Wednesday, 4 July 2007
und schlechter sterbe,
wenn ich dich nicht anschaue, Geliebte,
wenn ich dich nicht anschaue.
Tuesday, 3 July 2007
Monday, 2 July 2007
At around 5.15pm we started making our way around the park, stopping occasionally to show off our dance skills to the enthusiastic audience who had gathered at Southwark Park. As I was performing Oggun, my grin was seriously restricted, to my own chagrin, I must admit. There were loads of Cubans around and as we approached the stage more familiar faces could be seen doing the call and response so characteristic of Comparsas: "Ahora que vivo en Cuba libre, ahora que vivo en Cuba libre, a cantar la Internacional... And the people swirled and spun, and they drank and got drunk. You could be forgiven for thinking that you'd just strolled into a barrio in Centro Habana or Habana Vieja. I felt euphoric and I can safely say that the vibe was pretty much the same around me.
Outside the tent now and more down to what a Cuban Festival is and more importantly to the perception of Cuba in the UK. Why is it that Cuba is equalled only to 'salsa'? I'm not in disagreement with the notion that salsa, New York labelling aside, is a pure Cuban phenomenon. The main ingredients come from Cuban son and even the word 'salsa' was coined first by Ñico Saquito back when my Grandma was still chasing chickens in Güines as a knee-high grasshopper. But there's more to Cuba than just 'salsa'. A few years ago I visited the Barbican where there was a special celebration for the forty years of the Cuban revolution (Boy, El tiempo pasa y nos vamos poniendo viejos) and I was surprised to see Edesio Alejandro amongst the musicians on stage. Pleasantly surprised, I hasten to add. His music is the flipside of the coin of our cultural make-up as a nation, But you wouldn't know it from the acts that normally make it to the bill of so-called Cuban events. Nothing wrong with these acts, by the way. Cuban hip-hop has earned its place amongst the main performers of the genre and our dance music, call it son, guaracha or changüi, have been the main staples of our culture througout many decades. But we also have brilliant singer-songwriters, Silvio Rodríguez, Santiaguito Feliú and Gerardo Alfonso to name but a few. We boast some of the better pianists in the Americas, Chucho Valdés and Frank Fernández come to mind and we have good pop bands that have made inroads into genres that were considered no-go areas before or that were not considered at all, Afro-pop anyone? Síntesis and Mezcla are good examples of this. So, in the same way that Glastonbury has its chill-out tent and its dance tent, I would like someone to come up with a tent for Liuba María Hevia or Sara González.
Now, now, I know I'm dreaming and I'm just waiting for someone to snap me awake. At the end of the day, it comes to money and whilst financial matters don't get resolved, we will continue to 'bop till we drop' to the sound of our sensuous and energetic Cuban salsa. And you know what? Give it to me like that any day, I'll take it!
Special thanks to Robert Dickinson who very kindly donated the photo that accompanies this post and thanks to Linda and Guillermo who very kindly asked me to take part in the event.
Sunday, 1 July 2007
On the other hand, I’m a father and I happen to have a daughter. And spoilers aside, it’s difficult to sympathise with Bigger once he commits his heinous crime. Because heinous it is, albeit accidental. It’s this dichotomy that places my liberal heart on the line of fire. I’m forced to feel for a criminal whom the society surrounding him has left no other way for him to express his frustration.
The book is written in the third person singular, however, I keep feeling like I am in the first person singular. And this is the first time this has happened, which attests to the good writing Richard Wright shows.
To sum up, I’m bruised and battered by the novel, and yet, I’ll soldier on, like the occasional literary masochist I can be, hoping that in the remaining 100-odd pages I can find the manna that Bigger deserves. Even if at heart I disagree with his deeds completely.