Three by Ellis

Ellis Sharp, over at the Sharp Side has in recent weeks written some excellent posts. Here are three of them:

First up, short post on the politics of remembering:

And contrast the Bali memorial (which will apparently be a large stone globe) with the memorial to the
victims of the 1987 Kings Cross fire. It’s a perfunctory, obscure, barely-noticeable plaque which says
nothing at all about the tragedy and does not list the names of those who died, even though many of them were residents of the capital. But then the Kings Cross fire resulted from the under-funding and undervaluing of public transport, with rubbish allowed to accumulate under ancient wooden escalators, and an easygoing attitude to smoking in confined public spaces which was a tribute to the lobbying power of the tobacco industry and its political pimps (QV Margaret Thatcher and Ken Clarke).

Then there was this post on Aldeburgh, a small seatown resort in Suffolk, which reminds me quite a lot of similar towns on the Dutch coast in Zeeland, towns like Veere or Middelburg. Towns that look nice, elegant and cultured at first, but are largely ruled by provincialism, where the idea of having a work of art in your house is reduced to a reproduction of a 17th century map of the province hanging in your hallway, next to the clothes rack.

You’d expect an independent bookshop to be a bit, well, arty and liberal. Not in Aldeburgh. The shop seemed to be run by ghastly braying Tory women. My deep distaste for the shop hit new depths as I discovered it didn’t have any Crabbe in stock. No edition of his poetry; no biography; nothing. I was looking forward to buying a Crabbe edition, which would then inspire me to read my second hand biography. But they didn’t even have Crabbe in the slimline £2 Everyman Poetry series, let alone a more substantial edition. Yet Crabbe’s closest associations as a poet are with Aldeburgh. I hate bookshops which don’t carry the work of local writers and the absence of Crabbe plus the cretinous petition made me stomp furiously out again, determined not to buy anything.

Most recently, he reprinted an excellent review of Ian McEwan’s Saturday by John Banville:

Saturday is a dismayingly bad book. The numerous set pieces — brain operations, squash game, the encounters with Baxter, etc. –are hinged together with the subtlety of a child’s Erector Set. The characters too, for all the nuzzling and cuddling and punching and manhandling in which they are made to indulge, drift in their separate spheres, together but never touching, like the dim stars of a lost galaxy. The politics of the book is banal, of the sort that is to be heard at any middle-class Saturday-night dinner party, before the talk moves on to property prices and recipes for fish stew. There are good things here, for instance the scene when Perowne visits his senile mother in an old-folks’ home, in which the writing is genuinely affecting in its simplicity and empathetic force. Overall, however, Saturday has the feel of a neoliberal polemic gone badly wrong; if Tony Blair — who makes a fleeting personal appearance in the book, oozing insincerity –were to appoint a committee to produce a “novel for our time,” the result would surely be something like this.

Every time I read extracts from Saturday, my gorge rises. I haven’t got a high opinion of McEwan to start with and these excerpts confirm my opinion. Yet I still know I will need to read this book sooner or later if only to be able to pan it with a clear consciousness.

Miéville on fantasy

I know I’m banging on a bit about China Miéville, with two entries on him in one day, but I missed this article in The Independent when it came out last year:

The real distinction between the tourists and what has become the “generic” fantasy tradition shows up in the weaknesses of the mainstream. When writers don’t respect the field from which they borrow, let alone when (cough, Theroux, cough) they despise it, their work doesn’t believe itself. On every page, nervously scrawled in invisible ink, are the words “It’s ok! It’s not fantasy! It’s really about oppression/marginalisation/exploitation/etc!” The curiously philistine and simplistic belief is that fantasy is only “meaningful” so far as it’s narrowly allegorical.

By contrast, writers within genres know perfectly well that they are writing about refugees, or economics, or gender oppression, or whatever else, but they also enjoy the strangeness they create for its own sake. And they always have done. Gulliver’s Travels is a vicious satire on various social ills, but it also revels in the uncanny spectacles it creates: squadrons of tiny people tethering a man to the ground; talking horses; islands floating with a giant lodestone. It trusts the reader to get on with the tasks of understanding, and of enjoying the strange. It is a book that delights in fantasy.

One of the great signs of fantasy’s health is that often these days, those who borrow its tropes from
outside genre, like David Mitchell, the hot favourite to win Man Booker prize, do so with facility and
respect. Mitchell writes brilliantly about human society and emotion, and about ghosts, sentient computers and transmigrating souls, without sneer, anxiety or generic despite.

Auntie Beeb

Chris Bertram is talking about the BBC on his weblog, after he recieved a link from the Biased BBC weblog. He notes some things I’m annoyed with as well:

So what do I think about the BBC? I’m not particularly keen on the way it is financed (by a regressive poll tax) and I’m sure that will change given the multiplication of channels. The BBC’s current position strikes me as untenable given the way it uses the licence fee to subsidise its aggressive competition with the private sector via ventures such as BBC Choice, BBC4, BBC Style, BBC Everything Else and in the magazine market with its range of music, gardening, history etc etc offerings. I think I’m right in saying that they’ve now been barred from surreptitiously advertising some of these products on their main TV channels, but, all the same, magazines like History Today have to compete in a market against a product bearing the imprimatur of the prestigious public service broadcaster and containing numerous TV tie- ins, listings and so on. That strikes me as unfair.

I don’t really agree on the licence fee, as it does make the BBC more independent from the government than if they had to depend on funding from general taxes. I was against the similar arrangment we had here, true, but that was because we had the worst of both worlds: a licence fee *and* lots of commercials.

As for Chris’ other points, I quite agree. I get very annoyed with the amount of advertising the BBC does themselves for channels I’ll never see and I do think the BBC has gone too commercial in the last five years or so: BBC World e.g. is nothing but a rebranded CNN with british accents. I also think the quality of the two main channels has drastically gone down: too much socalled reality programmes showing some rich upper class twits getting their life laundried or their gardens the size of Devon redone or buying a second home, a small little castle near Windsor. The less said about [fx: annoying Scottish accent]Fame Academy[/fx] the better. And spare me Pauline “can’t act, can annoy” Quirk, please. However, Chris has a point when he says:

At the same time, I thing a great deal of what the BBC produces (like the Robert Hughes programme on Gaudi and the documentary on Algeria I mentioned recently) is really great stuff. And a lot of the best drama of recent years has been on the BBC (would Denis Potter ever have gone so far without it?). Channel 4 used to provide an alternative arena for good programming, but in recent years it has become dominated by reality TV, crap gameshows, chat programmes from hell and other dross (yes, even more than the BBC).

The strength of the BBC at the moment seems to me to lie in its non-fiction programmes. Series like “What did the Victorians do for us?”, “The Blue Planet” or “Life of Mammals” are just plain brilliant and it’s hard to see any other tv channel doing them.

Gorey matters

No, I ain’t dead yet, just busy with the election campaign. Next Wednesday is the big day, when we’ll see who gets voted into Parliament this time and whether the new government will last longer than 86 days… I’ve also been on holiday and had little time for blogging then either.

While I’m busy campaigning, shoving flyers through letterboxes, freezing my nuts off standing behind a stall in the market explaining why you should vote SP, why don’t you take a a look at Goreyography? Yep, you guessed right, it’s a website dedicated to the weird and wonderful works of Edward Gorey, author and artist. There’s also a Gorey font if you like that sort of thing. Both found by Sandra.

Oh and please: Turn your Back on Bush