Category Archives: Language

ARCO ARTE – IN THE MARBLE MINES OF MORIA AND MICHELANGELO!

“Lavorare!” comes the cheerful cry from Boutros Romhein, “Work”, as for two happy weeks we chip, tap, grind and hammer away at our sculptures at his school Arco Arte, in the wild mountains of Carrara.  In a two week course, which at around 1250 Euros, including simple accommodation, is remarkably good value, it is the first and very best lesson for aspiring artists in marble.  There is so much to learn about stone, form, tools, style, finishing, and so on, which any real sculptor will tell you takes a lifetime, adding they are always learning too, that you simply have to get on and do it – WORK. But what blissful and consuming work it is.

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Boutros, with that wry smile

Boutros, a charmingly warm hearted and highly regarded Syrian sculptor, who often appears dusted in white like an old testament prophet, has been working in marble for over 55 years.  So by the little stream, in the neck of a valley mined for marble since pre-Roman times, which Boutros is convinced resists any bad energies, a giant mouthless whale, a laconic camel, and an abstract angel are some of the testaments to his passion, knowledge and his skill. In a large workshop below the school the leaves and vines are washed in marble dust too, not harmful – being essentially calcium carbonate, as Boutros and Eric, a young mason from Germany, put the finishing touches to a gigantic, prowling, two-tailed lion, destined for a park in New York State. Now what began as a block weighting 60 tonnes, is refined down to a mere 20!

Up at the little museum in the mountains though, where a sign points the way to the Cavo di Marmi, Boutros, a local celebrity, created all the sculptures himself, over a quarter of a century ago. So testifying to the grinding human reality of life working those marble mountains. Once it was only hand tools, donkeys, carts and back breaking work.  Now something like a thousand trucks rattle up and down the valley every day, far too fast, like all Italian drivers, passing through a special lorry wash to keep down the dust, and cutting machines chug and slice late into the night.  So providing marble to the world, in essentially industrial Carrara, unlike the now very chic and expensive Pietra Santa, not from the visionary hands of a Michelangelo, not for the statues that are everywhere, but for all those kitchen table tops, terrazzi and marble stairs. But interestingly also ground down too and used in agricultural and animal feed products.  You wonder when these mountains then, rising into the Italian blue like petrified ski slopes, will disappear completely, as life and man consume the world. But it proves one thing, marble isn’t bad for you!

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James, Liv, Gina and Barbara at the presentation – schools out!

So comes a drive right into the heart of the mountain, through a kilometre long tunnel that feels like entering the mines of Moria from Tolkien’s Lord of the Rings. But once inside with the tourists there is no sense of Orc attack, only magic.  A quiet awe descends, looking at these vast internal galleries of negative space, where they sometimes hold concerts, or make sleek adverts for expensive cars. Then, on the other side of the mountain, we drive to the quarry Michelangelo himself used, where perhaps the stone for David, or his immortal slaves in Florence, was quarried.  The municipality will forgive me picking up two little pieces as a special souvenir, ok, nicking them, but then all artists know the dubious nature of valuing any piece of art, or perhaps anything beyond people. After comes a visit to Boutros’s nephew Osama too, at Studio Alnassar, whose own work is remarkable, and who has created a fascinating atelier with two marble amphitheatres, where he holds concerts and talks and breathes the very unique spirit of the place.  There is an awareness of the tragic issues back home in Syria, and Boutros’s brother is also a sculptor, but here Boutros talks the strong stone language of how everyone needs protecting, and a family have long found a new home, and a new or ancient meaning. That speaks a greater language than politics or power, and attracts people from all over the world.

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Boutros, delighted and obsessed with Rascal’s tail!

So we worked on in several languages, and only one, Art: James from Atlanta, on a ten year adventure bucket list that would put a bucket to shame, warm Gina from Wisconsin, Liv from Norway, an enthusiastic French couple, a young man from Japan, two German girls – Silvia a skilled sculptress herself – and me and my special dog Rascal, whose sweet nature and helicopter tail delights Boutros.  I was trying to sculpt a hummingbird, the most delicate of creatures, in the hardest form, and Boutros looked very sceptical as it got smaller and smaller and refused to fly. “No Lavorare – Go to the beach!”. As for the art, Boutros usually denies discussing form, that’s up to you, and if something cracks, or seems wrong, there is another laughing cry, like a question, “In the river?!”  Then all those centuries of work must have seen so many hopes, so many mistakes, so many accidents and disasters, and of course some wonderful revelations, that you soon learn you can’t be precious about it either.   The sculptors I have met here too, whether Arne, a much regarded artist from Norway, or the dashingly marble haired Martin, a famous Hungarian who has moved to America, or Christian Lange in Pietra Santa, are all generous in their spirit, their openness and their understanding.  They know people are having a go, finding a new way perhaps, maybe trying to be professionals too and there is a humility in sharing that journey.  It’s why so many seem to come back to Arco Arte – where Boutros’s lovely partner Barbara also runs a very happy and relaxed ship – older, younger, the group of young German masons learning everything they can and settling for a morning and afternoon coffee, with sugar, no sugar, but then to hear that merry invocation again “Lavorare!”

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The said hummingbird,  by James’s fish, just down the way from his sail and splendid  Bull-pig, almost finished in its translucent majesty and very much for sale, one day!!!!

David Clement-Davies, fortuitously for Phoenix Ark Press, did a two -week course with Arco Arte, in hand and machine tools. To take a course or for more information CLICK HERE

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BOUDICA – REVIEW

“By Jupiter’s arsehole”, but I came out of the first half of Tristan Bernay’s new play at The Globe, Boudica, feeling confused. Was this a masterstroke, to commission a bold new work with such obvious political overtones, considering Brexit, but partly in street-squaddie speak and partly in semi-Shakespearian Iambic pentameter? With the stark backdrop of a bronzed army stockade, to conjure the sense of Roman occupied Britain and a whirlwind of writhing, dancing forms, amid the stage smoke, was I being given a truly filmic experience, as the writer and director seem to have hoped? Yet if so, why was I beginning to feel bored?

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I had high hopes as the female Goddess- narrator first conjures the piece like some Druidical incantation, since the story of the British warrior queen was really rediscovered in the 16th Century, and the sudden interjections of antique modernisms like Jupiter’s arsehole were both funny and seemed to work, at first.  Gina McKee is an actress I love, and as the dispossessed wife of a British King in bed with the decadent Romans, until the soldiers arrive from back home to inject some martial steel, offered a striding, heroic feminism, driven on and justified by Boudica’s own beating and the appalling rape of her two daughters by an entire Roman garrison. The problem was that in fact the language and poetry are just not very good, both derivative and becoming a kind of Shakespearean pastiche, while the play itself is a stockade of non relationships. Where were the quislings, the Britain’s really in bed with the Romans, in love or lust, the cross cultural relationships beyond a Monty Python cry of “what have the Romans ever done for us?”, the grit, grime and high life too, to give these characters any real reality and make this a play?  Bernays should study Christopher Logue’s astonishing War Music, a modern translation of Homer, to see how a poet can make the centuries come alive with thrilling modern resonance.

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For those of us who remember the shock and hoo-ha caused by the National’s production of the Roman’s in Britain though, the nasty bits precipitating revolt and tragic bloodletting just aren’t very shocking, or moving either, perhaps we’ve all seen too much on all those films, and from there the play fails to find a real centre to support all the noise and pseudo poetry, as the drums go on beating. There is some good choreography, Samuel Collings is particularly entertaining as the effete Roman consul in charge of the collapse, Catus Deciamus, and Boudica’s daughters are both great, if they had the lines. I did wake up a little when the entire cast at the start of the second half, again summoning that ensemble player’s tradition, do a thumping rendition of  The Clash’s “London’s Calling’, though as if from absolutely nowhere.  The actors clearly thrilling to their presence so close to the site of Shakespeare’s original Globe by the Thames when they proudly belt out “Down by the River!”  But in the meantime, Londoners were largely Remainers and they felt like actors in need of a cause, or a really articulate voice.

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Perhaps that’s the problem, when you can’t believe that all the skill, artistry, and money of the Globe and some great actors too wasn’t directed towards Boudica precisely because the artistic powers-that-be felt it would be highly topical and highly political too, and yet Tristan Bernays says he is not a political writer.  There seems a problem there from the start, for Shakespeare could be unashamedly political, so much so that his Roman plays directly sounded contemporary events in Elizabethan England and punters flocked to the literally life and death debate. Which is why the RSC did so well to try and make something of Cymbeline and Brexit.

What Bernays is, meanwhile, or wants to be, is a ‘portentous’ writer.  The play aches to be significant and of course the three tribe union and split inevitably echoes all that is going on with Brexit and the Union. But if a point is being made, I couldn’t see what it is. There are no true character arcs, or internal jeopardies, and in the end Boudica is just spikely lofty, though with splendid posture, and disappears back into Myth.  Sure, it calls to a certain atavistic instinct certainly around to tell everyone to fuck off and let rip, it makes great points as a black actress cries “I was born here”, and Roman Britain was more multicultural than we realise. It ends with a portentous note about the horrors to come, as the stockade literally cracks up. But in reality our perceptions of and problems with that Treaty of Rome today have little or nothing to do with whatever really happened in Boudica’s story and Europe is hardly any invading army.   In that the play’s desire somewhere to Brexitly stick it to them too is somewhat irresponsible, while having its cake and eating it, in warning of the darkness below the surface.   But in the end that wasn’t my problem with it, but the fact it doesn’t really go anywhere, misfires some very noisy energies and in the last analysis, to quote the man himself, and his real poetry, “is full of sound and fury, signifying nothing.”

David Clement-Davies saw Boudica courtesy of The Globe Theatre. For tickets Click Here

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MICHELLE TERRY COMES TO THE GLOBE, AMID THE SILENT TEMPEST!

Well, when Press people suddenly disappear, and there has been long standing controversy about the resignation of the Globe’s Artistic Director Emma Rice too, who goes to The Old Vic, even coming fresh to the subject you instantly start to pick up little intimations of controversy and discontent, perhaps even a tempest. That and some kind of regime change may settle with yesterday’s announcement of the new artistic director at The Globe, Michelle Terry.

I only hope that Emma Rice’s fight with a very silent Board, supposedly over issues of poor lighting and sound, though Rice has spoken out over how the Board did not respect her, and a transitional relationship between the two directors lasting into 2018, will be made less painful by the new triumph of Much Ado About Nothing, directed by Matthew Dunster.  It was Rice who jumped at the chance to commission this ‘Mexican’ version of the play, and in it all her and Dunster’s best instincts have been vindicated.

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It perhaps throws light on what has been going on behind the scenes at the Globe too, in that unusually Terry has mighty little experience of directing, although is both an actress and a writer.  Something Dunster, by the way, is clearly not, in his current version of Dickens, although we have forgiven him because of Much Ado. Perhaps then, now the Globe has become a worthy academic institution and study source, and a popular destination for tourists too, and you wonder how much a silent Board cleave to such things, since worthies so often know so little about living theatre, there is a clearer line in reaching back to the writer-player traditions of Shakespeare’s day, in an avowed desire to catch the spirit of the place. As Mark Rylance so famously and successfully did at the Globe’s inception.

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However, for now things are on hold because neither directors are as yet giving interviews on the subject. Clearly a sensitive moment, so watch this space. With Terry wanting to find her head the transition may have its stormy moments too, but in this Summer of Love Season, perhaps not. But while being warmly welcomed to the Globe, Michelle Terry should certainly  soak up the glorious vibe of Rice’s Much Ado About Nothing, because that’s the kind of theatre The Globe should revel in.

David Clement Davies reviews Much Ado below.  The images are public domain photos of Michelle Terry, new Globe Artistic Director and her predecessor Emma Rice

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A MARVELLOUS ‘MARIACHI’ MUCH ADO ABOUT NOTHING

“Let wonder seem familiar” says Charlie De Melo’s magisterial Friar Francis, and Matthew Dunster’s superbly original production of Much Ado About Nothing at the Globe Theatre should be made familiar to as many people as possible. It’s wonderful.  The steamy snort of a Mexican transport train starts it all, depositing the players before the Groundlings, straight out of the bloody peasant battles of Pancho Villa’s revolutionaries. His female rebels too though, those ‘Soldaderas’ of real history, sporting cartridge belts across their fiery breasts and giving a new voice to the women in the play.

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So Mariachi music, big hats and the threat of maracas, sets your nerves slightly on edge too, wondering if everyone is about to break into a sonnet form of Mejicano. Caramba! No need for nerves, or indeed an over worthy respect for the classical either, in an evening that turns into a visual and sensual feast. This utterly joyous, superbly colourful production is so inventive, so alive and so mercurial too, yet so true to Shakespeare’s themes and the possibilities of what after all is a very peculiar and rather problematic play – in those macho and murderous soldier’s attacks on Hero and the rest – you want to pull down the wall, impeach Donald Trump and get back to loving one another, or at least going to the theatre.

Dunster takes big liberties, sure, because now the malevolent, near Deus-ex-machine figure of Don John is a girl, Don Pedro’s nasty sister, wait for it, Juanita. Gender issues then, whatever they are, (having read my Shakespeare), are on the slab again, to remind us of Dunster’s much praised and hugely popular version of Cymbeline, which he re-styled Inogen.

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In fact, not having read the programme, thankfully, the Trump-Mexico-Wall frame, and Shakespeare uses the stitch-up term, with Dogs Berry the ‘watch’ in the form of Ewan Wardrop’s  swaggering, idiotic film director for the American Mutual Film Corporation, which made a real deal with Villa to film the lot, did not become really apparent until the second half.  When the hand cranked box-film cameras draped in US flags roll out and those poor beleaguered Mexicans all spit on stage at the filthy Americanos.

This production then, which never takes itself too seriously, is exactly the opposite of Dunster’s recent writing follies, with his adaptation of Dickens and A Tale Of Two Cities at Regent’s Park Open Air Theatre (see review below). Perhaps a battle there with the director Timothy Sheader. Namely the modern reinvention is not bolt on, as it certainly is there, or tub-thumping either. Instead it’s a wonderfully cheeky and liberated comic conceit, born  of pure instinct, but with thematic integrity behind it too, beautifully realised in Anna Fleischle’s sparkling designs, that frames and serves Shakespeare’s play perfectly and somehow frees up everyone, to both wonder and the familiar.

The actors are really allowed to get down to it then, or to double step floridly up to it, waving their Flamenco skirts at us and each other, or firing their six guns. The entire cast is superb, in a show that is all singing and dancing throughout. Well, an enchanting mix of clever new music by James Maloney, that serenades our swaying journey through that desperate kingdom of love, with nothing as clichéd as Mariachi, and some very beautifully sung ‘Shakespeare’ too.

As Dunster turns Aragon and Messina to Monterray and Durango and Dog Berry’s malapropisms become arrogant American mistranslations, mis-hearings or misunderstandings. Which are also the mistranslations of romantic movies themselves, or the desire to play it heroic.  Much Ado About Noting, the title may have been, noting being false rumour and gossip, which sets the stage beautifully for the black and white film footage, in an age before the talkies, that reveals the truth and reminds you the camera never lies, except in Hollywood.

Of course the play belongs to Beatrice and Benedick, smutty pun intended, performed with such feeling and fiery wit by Beatriz Romilly and Matthew Needham, who Dunster has directed before, to engage us in that ‘Merry War’ of the sexes.  Steve John Shephard is gorgeously arch and wickedly moustachioed as the potentially ambivalent Don Pedro, that patriarchal master of ceremonies and masks, supported valiantly by Marcelo Cruz’s excellent Claudio and Martin Marquez as a Leonato straight out of the Mendoza family in The High Chaparral. But at last the women come centre stage and with Doreen Blackstock’s whip-cracking attack on the men seated on their mimed horses as Antonia, never again so easily dismissed either.

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In this version too, with a dramatic shift towards female power, or nascent revolution, in Villas’ case thwarted and betrayed, yet set against the perpetually comic, almost Fist-Full-of-Dollars backdrop, Much Ado takes on a new pathos and a strange new symmetry too. Suddenly all the ironies, knots and limitations of this threateningly misogenistic soldiers’ play find a united thread, because a woman is liberated into malevolence too, in Juanita, the war out there joining with the war within, in a true dance of lovers. So clarifying just why the magician Shakespeare, working within the mores and male structure of his time, forces Anya Chalotra’s lovely Hero, a name of course ripe with heroic male connotations and hypocracies, to die for love and be reborn, or Claudio to publically mourn her, in the search for his magic and often revolutionary resolutions.

In that the religious context of the play, and Shakespeare’s own peculiar sanctity too, that ‘poet of marriage’ as Germaine Grier called him, is served beautifully by the hyper Catholic-Mexican period framing, the clever and beautiful tying-of-the-knot already undone, and the cult of the Virgin too, though Shakespeare’s is the cult of love.

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I found myself wondering too why men on stilts, with wire horse heads out of War Horse, or pistols fired at tin cans leaping like cucarachas, should so bring a sixteenth century play to life. One reason is that it’s just such fun, those train doors and windows used to lovely comic effect. But the other is that in the setting of the Globe, all the space used too, it’s almost as if you’ve stepped back five hundred years to that age of players and musicians, and that extraordinarily odd but also liberated time, linguistically and even socially, that breathes out of Shakespeare’s utterly instinctive genius.  It is pure directorial instinct too, serving the writer, and the actors, that has made this such a triumphant success.

David Clement-Davies went to Much Ado About Nothing courtesy of the Globe Theatre. The production runs until October 15h .  For tickets Click Here

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WALKING WITH THE BUSHMAN!

A SHORT WALK IN THE KALAHARI

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His name is Cobra, and he has been working with the excellent, high end travel outfit in the Kalahari, Uncharted Africa, for years. I think he started as a boy with the hunter Jack Bousfield, who was killed in a plane crash, where his son Ralph was injured, back in 1992.  So Ralph founded Jack’s Camp, in honour of his father, and so came San Camp and Camp Kalahari too, all in reach of each other, here in beautiful Botswana, on the edge of the Makadikadi salt pans. I’ll blog more on the wonders and style of our visit, of lionesses, meerkats, and an evening ride among three thousand Zebra, during the migration.  We were thoroughly spoilt and the only decent thing is to share just a little of it with you here.

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But first to something Uncharted offer too, which is a two hour walk with the ‘Bushmen’. Of course nowadays that term is decidedly politically incorrect, for the San and Koi peoples, among the oldest cultures and people of Africa.  I do not mean it to insult, far from it. Their guttural, clicking, beautifully sing-song tongue is the root of the Xhosa language in South Africa, though linguistically they have long split apart.  I think we all felt a little awkward as we rounded a Wait-a-bit tree, heavy with Long lensed cameras, our bronzed skins fizzing with mosquito repellent and wearing shades, to see a small group of adults and children, all apart from Cobra, in traditional dress.   The group come for around three months, paid by Uncharted, though I have no idea what, then are replaced by another group, so inevitably came the potential feeling of a stage set, and a forced exercise.

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But very quickly we were put at our ease, after many handshakes, reassured that these guys like it, including being photographed, and actually several of the bare breasted women dandling their dirty babies hardly seemed phased at all.  Somewhat bemused, or amused. So off we set, wondering what on earth we were doing, to stop now and then, to pull up a bitter herb, a xoi, or wild carrot, or pluck purple pepper pod leaves that help cure a dry cough, or try and understand their mesmerizing language.  I’m afraid I still haven’t grasped names, but a couple of the younger guys and girls had very good English too, to translate, and somehow the awkwardness eased, as we started to enjoy a walk in one of the largest, and hardest gardens on earth, the Kalahari.  Several of the men carried delicate asagais, I’m not sure of the bushman word for spears, made from the hard wood of the brandy bush, and one arrows and a bow, though technically, like everyone else in peaceful Botswana, they are not allowed to hunt. I have a problem with that, because although I thoroughly approve of Botswana’s general ban on Big Game hunting, which should be adopted across Africa, what will it do to their unique culture and lives, among such an un-invasive people?

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The story of the Bushman is probably as sad as much of the rest of the World.  Now perhaps two thousand live a truly traditional, nomadic life in the Kalahari, and have been moved especially from the central parts around the Diamond reserves, though ‘Conservation’ is generally the excuse, to the edge of towns or their own communities. Diamonds!  Those beautiful, over valued stones we like to give each other on bits of gold as a symbol of Love ad Eternity, that generally are pretty useless, especially when we’ve ruined the Wild and the World for Eternity.  But never make too many assumptions.  One of the guys smiled knowingly as I asked him what he wore in Frances Town or his village. Jeans and Tshirts was of course the answer, sometimes, especially in town, as I learnt he was studying Engineering.  But on we trecked, this mobile outfit from Botswana’s equivalent of Central Casting breaking away to pluck a purple pepper pod,  or show us an animal track.  Especially the elder guys were watching and knew, and you knew too that if you were ever lost in the desert, forget Ray Mears or Bear Grylls, it was these guys you wanted with you!

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The ground was dry, despite the unusually heavy rains this February, and soon the girl I had been trying to vaguely flirt with, or prove I wasn’t an arrogant Westerner to, was crouched on the earth, teasing the guys about their jokes that this was women’s work, digging for a special water tuber which they scrape like a carrot, then squeeze, using the thumb as a spout, to drink the milky, bitter fluid. That I tried too and it tastes like pure water, when your brain separates out the turnip bit.  Back she placed it in the ground too, for another day.  Meanwhile the men were collecting dry Zebra dung, twigs and fine kindling to show us the primal art of Fire.  Cobra was trying to upstage them though – they came from different tribes and didn’t talk the same language – scooping out the earth to catch a scorpion, that he played around with, then popped between his lips and teeth, so he could clean it and show the eight eyes, and eight spots on its underbelly, that relate it to a spider. I tried to talk to Cobra, about what he thought of tourists, or the problems of his people, and though there were lots of reassuring ‘goods’, his extraordinary face seemed naturally lined with doubt.

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But the fire was going, the group and the little children decidedly interested in their own stuff, and so began a kind of song and a game I think I’ll never forget. Men opposite women, it was a version of Paper, Rock, Fire, though with moves and signs for Lightening and Steenbok instead. But they so got into it, laughing with delight, that fascinating machine-gun rapid song language rising to some enchanted drumbeat, we were all laughing too and slapping our chests in rhythm wanting to really be part of it. The Game was done, the fire out, a smoke in a bone pipe complete, I had been dying to try too, from a tiny wad of tobacco couched between one of the lady’s breasts, that makes you wonder how many pula they earn, and just like the water plant, the fire remains were pushed into a hole and smoothed over. Gone.  One more thing left, as I tried to throw a spear, the little snare they had made under the tree, for birds, or even the tiny deer we had seen everywhere.  They laughed approvingly as I was persuaded to put my hand through the vine-made noose, to touch the bark gum bait and I was caught.

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Now we were wandering again, the sun high, feeling as if we had touched a little bit of a very innocent Eden.  It was all there.  All you really need in life.  Food. Water. Fire.  And a laughing song-game. Then suddenly they began to break away, after all of them shaking our hands once more.  We of course had no idea where we had wandered in the bush, but there we were back near their camp, like turning the corner to the semi-detached.  Cobra and his fine, long faced compatriot, such a dignified, beautiful face, hopped in the jeep with us for a lift back to Jack’s Camp, but it was over. It will go on.  For the other tourists, a walk in the Kalahari, though Uncharted offer a trip where you can live with them, without any other creature comforts. But for any staginess, any odd conjunction of Ancient and rather Modern, that many of the Botswanans around looked at somewhat sceptically,  I was deeply touched. I thought of all the problems, all the fights and horrors of the World, of the grossness of Donald Trump and all that Power, the difficult issues of Conservation too, and precisely because these gentle, threatened people seemed to leave no harmful mark, felt very genuinely that we could all take a purple pepper pod leaf out of the Bushman’s book.

David Clement-Davies February 2017  Photos David Clement-Davies and Arabella Caccia.  To Visit Uncharted Africa’s website Click Here

 

 

 

 

 

 

 

 

 

 

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CYMBELINE FINDS HER TIME, OR BRITAIN ALSO LOSES THE PLOT?

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Thanks to the RSC, and Gillan Doran’s wonderfully ambitious programme for the 400th anniversary, not least for bringing me to a play I’d never even read, Cymbeline. Despite a sinking heart opening the programme to see a picture of Dave Cameron, and a journalist lecturing on about Brexit and why after being neglected for so long this is a play that has at last “found its time.” Hmmm. Shakespeare is always profoundly politically attuned, though better at exposing the imperatives and mechanisms, the nasty guts, than being didactic or ever lecturing. Was the graffiti on the concrete wall then, along with the programme’s nod to Banksi, or an anguished model of a Refugee boat, to make us suffer a Referendum all over again? I think the real irritation is that for nearly three and a half hours it had me imagining Gillian Bevan’s stout, very capable Cymbeline, part Britannia, part Boudicca, as Theresa May, (with respect, a bit of a look-alike), or is that Theresa-may-not? Not that Bevan is at all Lilly livered, and now I know Cymbeline means Cymbeline and there we are!

As for their Brexits, or their Entrances, in a proudly multi-cultural cast, what also irritated is directors (now trendily called Creatives at the RSC) thinking that a lot of running on and off stage and gabbling difficult lines passes either for theatrical energy or realism. Though when the actors settle into thinking and feeling through the words and poetry, there are some excellent performances. Not least from Bethan Cullinane as Cymbeline’s much tested daughter Innogen, the black actor Markus Griffiths as a very funny Cloten, James Clyde’s excellently malevolent Duke, and the Irish actress Jenny Fenessy throwing off the tyranny of the poor understudy to play Pisania, while a treasure chest of language is thrown open.

Jokes aside, busy director Melly Still it is quite right to suggest Brexit’s relevance, since Shakespeare was born out of the trauma and liberation of a disintegrating Christendom, (a reason today’s violent Religious and Scientific divides  or Terrorism might be even more pertinent), if Europa was a word and concept only just emerging at the time. As still Top Monarch, Queen Bess, who made a lot of cash from Hawkin’s African nastiness, and thugs like Francis Drake, saw the loss of any kind of Empire in France, though viciously trying to plant Ireland. While King James mooted but failed to achieve a Union with Scotland. So how did Britain really thrive and invent herself? By putting money in everyone’s purses, well those at the top, from little London, and ruling the waves elsewhere, away from the internecine battles  erupting in Europe. Oh brave New World.

You can argue then that much of Shakespeare is also inevitably about the very writing of a new English Imperial identity, if only through the most glorious expression of the English language. The world’s centre of Gravity was certainly shifting violently though by 1600, in a moment that probably did define how Globalisation and Capitalism would develop and which has not seen an equivalent sea change until now. It’s not just Brexit, of course, but how the Internet is probably the equivalent of the Printing Press revolution. Perhaps Shakespeare is a bit to blame then, at least for that outburst by Tory MP Jacob Rees-Mogg limply invoking tigers, to give Cameron a prod. I think Henry V is about the conscious manufacturing of a powerful new political rhetoric, soon adopted by the ‘Establishment’.  Even as a once far more intimate Monarchy separated itself from the lower orders, and banished honest Jacks to the bilges and top sails, it conquered half the World, with planting, privateering trade and slavery, and owned it for a very long time indeed.Is that what modern Breixteers want? Not of course that Bill did all this alone, bless him. The Virginia Company was founded in the year the Globe went up on Bankside, 1599, just opposite that walled fortress of London, still a Global epicentre today in UK PLC, and the little Tudor cannons of the terrifyingly powerful and private East India Company were bristling from a fort in Madras by 1607.

That year Shakespeare’s youngest brother Edmund died at just 27, an actor too, and his daughter Susanna was married in Stratford. While ‘savages’ were attacking the new fort at Jamestown, King James’s town, and a little merchant ship called the Red Dragon, Henry Tudor’s badge, did performances of both Hamlet and Richard II off the coast of Sierra Leone. Britain had truly set to sea, and it was coming back in bucket loads. For hundreds of years the scholarly Establishment claimed that record had to be a forgery though, because the Common Man could not possibly understand their Bard, if still stuffing him down School children’s throats. To improve us all and claim Shakespeare was essentially Conservative and there’s nowhere like an England!

If we think Euromillions is an innovation though, the first free standing lottery was launched in 1612 to help colonise Virginia, soon taken up by all thirteen original Colonies, to give very early origins to that ‘American Dream’. Talking of which, having a snack in Café Rouge before the show I’d opened The Times to read with even more sinking heart that the usually balanced and liberal Matthew Paris had just suggested we toughen up on the asylum rules by suggesting what constitutes danger should now only be the threat of Death! Then that Donald Trump was ahead in the bell-weather State of Ohio, invoking the example of Brexit. If we think our own Liberal sentiments (or not) can sway US Politics though, when people were asked to email Americans to complain, they got some very rude replies indeed, about being stupid, Lilly-livered Brits and worse.

A little credence then to the relevance of the traumatised Brexit line, four centuries on, although the production has faced much criticism. Some slack too in Ms Still peopling a Roman court with Mafiosi Eurotrash in lounge suits, sipping cocktails and speaking in Italian, translated onto big screen sur titres, that then translate Latin too, when the big Romans claim their imperial tributes from the smelly Britains. Who dares to translate the greatest translator and interpreter of them all – Shakespeare? Well, Melly Still! That rather heavy handed moment is about the river of history, peoples and languages that made Britain and which Shakespeare’s astonishing English emerged from too. The first dictionary was only printed in England in 1604 and Shakespeare is profoundly a Renaissance writer. While to set us up for losing our heads, the set is dominated by a tree stump, in a glass box, perhaps to echo the production of King Lear. The rest is as hip, with film, and part concrete and vegetative back revolves, to suggest Nature will always break on through, complete with images of modern Rome’s Empire-littered streets and Dad’s Army Invasion maps to have you suddenly asking – Who D’yer Think Yer Kidding?

Actually I should underline that Cymbeline is a tragi-comedy. So to any grasp I got on the plot, untangling which might win you Brain of Britain. Cymbeline’s daughter Innogen and Posthumus are star crossed lovers, or most crossed by Cymbeline, so Posthumous has to flee abroad. There, boasting of Innogen’s love and fidelity, he is tested by Oliver Johnstone’s excellent Iachimo, who travelling to Blighty, as Rome seeks tribute, emerges from a chest in her bedchamber to discover Innogen asleep, nick her bracelet, and spy a starry mole by her breast, rude fellow. So being able to trick Posthumous into believing he has done the act of darkness and Innogen is false. Like Michael Gove Iachimo pays Manhood’s price later, when the War of Men without Women erupts into horror, or is that Boris Johnson?

There is a tangle of poison that isn’t poison and lots of people trying to bump each other off, like Boris Johnson and Michael Gove. As Cymbeline revolts against Rome, Innogen flees to the forest, to encounter an exiled General good-of-heart, Graham Turner’s splendid Belarius, and her kidnapped brother and sister, Arveragus and Guideria, emphasising all the healing Nature virtues, and played very well by James Coonie and Natalie Simpson, especially Simpson as Guideria. Though in the tangle of tree roots or Brain-stem ganglia they first appear swinging from, and the whooping hunting cries, perhaps nicking far too much from Avatar. Mind you, did you see that article in the Sunday Times about tree roots being connected and talking to each other, even nurturing or throttling their young, in this global world of ours? With a very peculiar dream Mask, when Jupiter is invoked, to explain the meaning of names via a prophecy, everyone loses identity in going to war, or finds their manhood, though the Brits win, but still need a Cultural head, so pay tribute to Ancient Rome. So Cymbeline ends with the most astonishingly uncomfortable series of resolutions, more than any in Shakespeare, that had many laughing aloud, including me.

Cymbeline is certainly about a crisis of identity, but it sits not at all in Shakespeare’s overtly Historical or straight political plays. It comes among the later Romances, like Pericles, The Winter’s Tale and The Tempest, when politics, life and suffering had probably confounded the Bard a great deal and he turned his hand to achieving effects through acts of artistic magic. Perhaps his brother Edmund’s tragic death was influential in that sea change. Pericles was written in 1607, for instance, all about incest and lost daughters, but with a family crest that shows a withered branch only flowering at the top. It may be more true though that rather than Cymbeline not being popular for centuries because we had an Empire now, imposing its own tributes, it is because it is a very easy plot to lose. Melly Still throwing the baby and the bath water at it hardly simplifies, or leaves us quite knowing how to vote either. Even if Jacob Rees-Mogg should be told that despite the Histories, most of Shakespeare’s plays are set in interesting foreign and Renaissance climes. I thoroughly enjoyed Cymbeline though and it did not drag for a moment, though the bloke playing the School Master at the new Edward VI museum, backed I think by Mr Gove, told me, rightly or wrongly, it originally ran to five hours! Enjoyed it because just when you’re wondering how Cloten, chasing after Innogen, can get away with possibly being Posthumous in his very ill fitting clothes, so to trick Innogen into believing her lover is dead, his beheading by Guideria is almost hysterical. While Innogen’s burial, then waking to mistaken grief, and true horror, is probably one of the strangest things I’ve ever seen in the theatre. Not least too because Shakespeare, inventing everything, even comes up with the phrase “Brain of Britain”!

 The photo is from the RSC’s rather startling and controversial production of Cymbeline, directed by Melly Still, showing a disguised Posthumous going to war with the Romans, as everyone wrestles for their identity and they try to shake us over Brexit.  Photo Copyright Ellie Kurttz. Ticket courtesy of the RSC Stratford on Avon.

 

 

 

 

 

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CYPRESSES, CORFEATS, NAUSICAA AND A HOUSE ON PARADISE ISLAND

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The island, she won’t let you go,” whispered the hazel-eyed local on Corfu’s Agios Gordios beach, on the West Coast of my magic isle. She told me about her struggle and satisfaction in becoming a tourist rep, the legend of Nausicaa finding naked Odysseus here, washed up in the surf, and noticed the Disk of Phaestos hanging around my neck – Crete’s un-deciphered Linear B. I had bought it in my favourite artisan shop in Corfu town, where I get charming old postcards too. Then I’d been upset when it had tarnished in the bath and had taken it back to complain. “Life is never straight, my friend” the owner had twinkled nomicly, trying to convince me it made a better story too, as he assured me it was Stirling Silver, that very British hallmark. I was pleased above all that I hadn’t been lied to by him or been made a fool of either.

On Agios Gordios, this sudden Nausicaa and I joked about life, the real island of Corfu, ‘mad and wild’ Corfeats (according to other Greeks) and paradises naturally lost, or sometimes won again. If Corfu really was Homeric Scheria, at Thucydides claimed, home to those westernmost Phoenicians too, and so perhaps that link with the teacher of Zeno, Parmenides, she plays the strangest role in his rebirth and journey home. A symbol of half unrequited love, perhaps half mother figure, so much so one British scholar remarked that Nausicaa’s beach encounter and laundry scene is so realistic it meant that blind Homer was really a woman. Then the translations of Linear A on Crete turned out to be a laundry list! On Scheria cunning Odysseus, ship wrecked by Poseidon for tricking and blinding his one-eyed son Polyphemus, had to penetrate the palace of Nausicaa’s father, to get help, or breach what Wikipedia so anachronistically calls its magical ‘security systems’.

Since life is a beach though, what could be more magical then than to drink cold beer in the golden October sun, to swim in crystal waters but abandon some of the cliches too, as time and contact help me really experience a place. It has been a wonderful five weeks writing Dragon In The Post here, living in my rented house on Paradise Island, with its gentle garden, a place of recent barbecues and a new Dutch friend who was born here picking garden herbs for the marinade. So it was a bit of a shock to discover time rushing on, as ever, like Chronos eating his own children. The little ferry to Vidos from Corfu port has already stopped running, after three days of very heavy rains and gloomy skies. The Liston arcade in Corfu town still lights up and throbs at night, and the tourist shops bristle in the day, the electric evenings too, as a Maestre, a masterful Northerly wind, sweeps in to dispel the clouds around the great Venetian fort and the 18th century shuttered houses. But the season here is definitely winding to a pleasant autumnal close. Winter threatens in the falling leaves, the coming browns, the cooling airs, the death of each year’s life, but with something far less threatening than England and home.

On Agios Gordios we went swimming together at sunset in front of that burning red fire disk of exploding Hydrogen and Helium, so far beyond the real horizon, seemingly dissolving into a near-whispering, wine-dark sea. The bay held us like a friend, as the slanting afternoon sun painted our skins more golden and that renewed clarity of low afternoon light made everything sharp and real and very fresh and beautiful indeed. It picked out the shape of ‘Buddha Rock’ too, lying on his back on a nearby islet, beyond the Black Rocks, that to me looks more like a jolly Norwegian Troll, with a gigantic, bulbous nose. Then something of the ancient Gods descended, and light and sea and dying sun-disc became a filmy one.

The water does feel different suddenly, like warm silk, below the vaulting Cypresses climbing the slopes like markers to the island’s vigour, and as you stand in the sea, looking back at the hills, smiling or laughing, opening your arms, who would want her to let you go? The generous rains are the cause, and Corfu’s miracle micro climate, although with 10-15 days solid rain in September, it has not exactly been the perfect season. I’ve seen more of Corfu than I ever did last year though, swapping a battered bicycle that once kept me fitter for a sharp-engined white Mercedes (thanks to a free Airport upgrade, although with a struggle). So doing far more of the winding mountain roads, to Halikounas, Sinarades or Paliokastritsa, with its beetling Castello St Angelo and plunging, impossibly turquoise blues. Corfu always gives you a newly inspiring vista and opens your heart and mind, whenever you get locked too much inside yourself. “Oh, think twice, it’s just another day in Paradise” beats the Phil Collins song incessantly from Corfu Radio, of course, with its warning about forgetting other people’s problems. No, sorry, not at the moment.

It was driving up to a beer festival in Arillas in the North West this weekend though that I got to see much more of the ‘interior’ too – Those ever fascinating twisting, witch-hair olive groves, tipping down the slopes into mysteries of cool shade, the lifting massifs of hills, a sudden plain rich with wildflowers, pomegranate trees and pools of yellow sunlight, a flock of very smelly goats and, of course, among such lush vegetation, God-tall Cyprus trees everywhere, like perky sentinels, or officers of the watch. “Do you know their sex?” whispered someone in my garden, with a wink, as if introducing me to some great life secret, and of course the tall, straight ones are boys and the rounded, shorter, pear-like ones are girls. It’s all quite simple really.

I prodded my new friend on Agios Gordios and impressed her talking not about natural Phallic symbols, but the Omphalos, the World Navel and so the belly button. Also a time marker at ancient Delphi, once centre of the ‘known’ and imagined, where those weird women sat on their tripods, breathing in natural hallucinogenic vapours and whispering impossible oracles, or riddling warnings! She countered with talk of columns and the light on Delos, where the place seems to give birth to light itself. Perhaps then, while I learnt her real names are a feminized mix of the ever-present Orthodox Saint here and anti-Turkish intercessor Saint Spiridon and Alexander himself, such a green and fecund isle is an eternal antidote to that superstitious Greek association of Cyprus trees with death, misfortune and graveyards, like the sound of Scop’s Owls hooting in the night.

They are superstitions and legends much explored in the novel I’ve been reading here too, by Sofka Zinovieff, The House On Paradise Street. It is not a masterpiece, no Homer, with little of the literary panache or indeed sparkling charm of a Captain Corelli’s Mandolin, but it is compelling and more importantly valuable. In solid prose it moves between the present, especially that moment of recent Greek ‘crisis’ of 2008, where many worlds seemed to fall apart, and the Occupation by the Nazis, until 1942. Then the bitter tragedy of the Greek Civil War, through the dictatorship of The Colonels too. They could certainly make a far better film of it than that atrocious Americanisation of Captain Corelli with Nicholas Cage. Zinovieff writes like a journalist discovering fiction, which I believe she is, and with that name but also an agent in London, you wonder if English is her first language. She is married to a Greek and has two children. In a sense it is always a story somehow in exile from itself, seeking its own heart, but it is most fascinating both in providing a foreigner’s eye and experience too, with the detail of a tour guide and travel writer, sometimes a touch of the poet, and for its discussion of the British legacy too.

On Corfu they still play cricket!” is the patriotic hero Nikitas’s dismissive quip that references this island in the novel. Nikitas’s sudden death provokes the historical investigation by Antigone his mother, an exile to Soviet and then modern Super Capitalist and ‘Cowboy’ Moscow, forced to abandon him to her sister as a baby, and his English wife Maud, bringing up their children in the anguished environment of student riots and the modern ‘Crisis’ in Athens, while coping with death, loss, age and decay that springs out so suddenly in everyone’s little life. The novel moves chapter by chapter between their competing narratives and one of its biggest flaws is that as such it internalizes none of its male protagonists, perhaps men are the book’s real Greek mystery and threat, but also creates few characters you can really love and so passionately identify with.

Its two central stings in the tale, most clever in the use of the seeming acronym ‘Wasp’ to reference those endless political groups from ELAS to PASOC, and least emotionally satisfying in the revelation over the British protagonist Johnny’s real human love affair, could have been far better handled dramatically. Meaning their power, outrage or beauty are not sought out from within for the reader and so lose effect. Yet they sustain the action and the themes and help a book approach depth and sometimes passion too, if, and precisely because of it’s dark themes, it is perhaps an attempt to avoid passion and get at fact and clarity in recording events many don’t know about. “Passion,” sparkled the girl on Agios Gordios, “That’s what Greeks are.” Meanwhile a book relayed the story of the brave women of Souli opposite Corfu dancing to their deaths in 1803, rather than surrendering to the Turks, or the 400 pleats in the traditional costumes of freedom fighters to mark every year of Ottoman occupation, as it reminds you that passion also brings a talent for tragedy.

I felt peculiarly British then as I saw them playing Cricket the other day in white flannels on the green in front of the Liston and the beautiful Archaeological Museum in Corfu town. “Pakistanis” observed a Greek friend though, with more than a hint of that schadenfreude that sometimes brands all Albanians too, and which is far more prevalent, and redolent with a threat that you can’t feel on Britain’s little island, so much closer to that real fault line of modern Europe; Turkey and the Bosphorous. That evening we listened to Pink Floyd’s Wish You Were Here in the tiny Time Machine bar, then of course I saw the headline about UKIP’s victory back in the UK and its effect on the Tory Party and remembered the threat of atavism or real economic and cultural conflict is spreading everywhere.

That bar was part of the delight of getting to know Corfeats and a place though. Like tea and backlava with my friend and a young mathematician and Wikipedia guru opposite the Cafe Bristol. Or a game of ‘Gringlish’ and 1980’s Trivial Pursuit in my friend’s half built house with a view, as a storm fired lightening bolts across the bay, and too much booze after supper in my favourite restaurant here, Stimati in the village of Viros. There Spiros deals with his talent and ache as an artist by covering the walls with paintings bright with those ‘Iconic’ or primary Byzantine colours, although unfolding erotic Jungian dreamscapes, instead of God, in between the cooking. While his Scots wife Margaret bustles through with efficient practicality, stopping to discuss Scottish Independence, or to share some clear-eyed jokes and fun.

As for things being not quite cricket, or perhaps exactly Imperial Cricket, down in Corfu town I had noticed how I had noticed several young Pakistani players with surprise too, since this is what equates to a National Greek Cricket team. As the odd African peddles watches on the beaches, or there are so many cheap China stores here. Meanwhile a vastly tall, aging Greek Heavy-Metal hippy, with an Archbishop Makarios beard the length of a shaggy dog story, begs defiantly among the pretty cobbles and the wealthy trippers in the Old Town. Thankfully Corfu is no island to embrace the likes of Golden Dawn though, except perhaps in humorous talk of Independence for Corfu itself. Then, with its highly successful tourist industry and relative wealth, including a deal of British ownership, nor has it faced quite the hardships on the mainland. Despite complaints about sudden house taxes imposed, more than temporarily too, stories of local graft among doctors, to plump the Middle Classes, or that eternal accusation of political corruption at the top in Athens. More than that though, however bad things get, Corfu has an expansion and generosity that is in the landscape itself.

The British legacy is of course very strong on Corfu, the map of which looks a bit like Britain turned upside down. Not only with the cricket, but Prince Phillip having been born at Mon Repos, and celebrated English visitors here, from Edward Lear and the Durrell brothers to Joanna Lumley. ‘Kensington-on-Sea’ they call Kassiopi, South East of Sidari, the island’s most Northern point, bulging in the summer with rich Notting Hillites from London. Both of them above Kalami, where Lawrence Durrell and his lover had that White House on the sea, the property I think now owned by Lord Rothschild, or perhaps that’s above. Lawrence was of course a very different creature to his brother Gerald, that oh so British naturalist of the charming My Family and Other Animals. Whose practical, observant, scientific echo reminds you of the Brit care of local animals here; the tiny kittens like pocket watches and the battered cat families that survive around the dustbins. Perhaps I share fictional Nikitas’s prejudice against Right-Wing people, (except when you’re trying to get some decent service, or to fix my fridge, yet again), but I would translate it to people who don’t like animals instead.

Lawrence’s different kettle of fish to his brother, like some familial fault line at the centre of Paradise Street too, was in his attraction to Eastern philosophy, his protracted philandering, that help some remark he was ‘not a nice man’, but his skill too at history and very gorgeous travel writing, that did a great service to Greece. I’ve never read the Alexandria Quartet but know his painting the island of Corfu as ‘Prospero’s Cell’, referencing a bogus local legend a friend told him that Shakespeare’s The Tempest was set here. As if imagination and literature, from Homer to now, are not a country to themselves, as Martin Amis once remarked in shock at the Islamic reaction to Salman Rushdie’s Satanic Verses. Well, the art of the novel, and of course the older ‘God Consciousness’ of Myth too, in the very emergence of language and storytelling itself, is that they aren’t entirely separate countries either, if they have power and meaning.

As for the map, physical and internal, and my obviously scruffier end of the isle below the airport, whose open runway always gives me a strange buzz, it is apparently Agios Stephanos to the North of Kalami that attracts the true cognoscenti and the elite ‘Philhelenes’ so questioned in The House on Paradise Street. So the novel discusses that superiority of knowledge and power that in the eyes of Nikitas made the British almost as bad as other conquerors, from Lord Elgin to even mosquito-bitten Lord Byron, but especially Churchill, with his carving up of Europe with Stalin at Yalta. A pact that saw both British and American influence after 1947 go unchallenged by the Soviets, although a role that other Greek protagonists in the story are very grateful for. It made me think of the pretty waitress in the Tea shop who had said so warmly “I like the British”. In the factual historical postscript to the book and with regard to Metaxa and the Colonels, who I first heard about personally on holiday visits as a child with my parents, when Greece was still a Homeric dream, comes that phrase that has haunted the World from London to Iran since WWII – “supported by the CIA.”

Meanwhile my chance friend on Agios Gordios tried to mimic being so ‘verrrrry British’, although she hardly knew where to look when I told her that at Edinburgh University I had once visited a friend at Broom Hall, only to see a tiny bit of the Parthenon on the Drawing Room wall.  It was the Bruce home, and so Lord Elgin’s house and to be fare to myself I tried to pierce the grandeur of it by pretending to steal the cutlery. That Elgin Marble thing, or how you rewrite or correct history in a globalised World, or indeed if you should in a multicultural epicentre like London and The British Museum, serving so many visitors and scholars too, is an aspect that is intelligently dismissed by Nikitas in visiting Maud in London.

So instead to the human horror of war and especially Civil War and the atrocities on both sides, which was of course redefined by that super battle that began before World War II ever ended, the function and ideology of money and so power, Capitalism versus Communism, as the Cold War began. Fought with such vigour by the likes of Allen Dulles in Switzerland and then from America. That East Coast lawyer, OSS man and first Civilian director of the CIA, and great share holder in the American Fruit Company too. It is Churchill’s role I don’t really know about though, who incidentally was brought to power instead of Chamberlain partly through the offices of my grandfather Clement Davies, as Liberal leader and head of the All-Party Group in the UK Parliament.

The novel is fair minded by giving different voices and perspectives, just as one character says Greece was not a British Colony. Although what truth can be reached if Greece still thinks it was ‘them’ doing it all cynically, like modern day Politicians up at the top? When graft can go from top to bottom, all humans have potentially murderous instincts, the British Empire bankrupted itself fighting Nazi evils, for any Imperial evils, as America achieved a new Hegemony, and that ruling instinct was always towards law and order, especially in the vicious and tragic maelstrom of the Balkans. Churchill did not have the power to impose his will at Yalta and had to engage in real-politique, just as the Philhelene ideal was perhaps betrayed by the horrible realities of war, resources and survival. Something to wake up to, as much as Communist Idealists in softer countries woke up to the horrors of Stalin.

A historical postscript reminds you of the fact Greece did not become a country until 1830 either and then references the ‘catastrophe’ of Smyrna in 1927. Not so much Ethnic Cleansing as Ethnic Rearranging, shifting 500,000 Turks and 400,000 Greeks, always the problem of the Nation State, especially when religious identity and ideology steps in too – Christian versus Islam, that fault line so much clearer at the Bosphorous. One that competes with a ‘Greece’ that stretches back to Byzantium and the Eastern Empire. “I’m orthodox and respect their faith,” one waiter had grunted, looking out to sea and talking of ‘them’, after new beheadings on TV, as I failed to get the boat to Vidos. But he certainly didn’t agree when I gave him my weak-livered ‘One Planet’ liberalism. It was of course Ataturk though who tried to modernize a sclerotic Ottoman world, removed his mother’s headscarf in public saying she was too beautiful to hide her face, shifted the Capital to Ankara and tried to separate religion from the State.

Fatherland and God are defined as powerful forces in Greece in Zinovieff’s novel too, as they were in Spain, against those supposedly ‘Godless’ and youthful instincts to create a new world among the often Communist Partisans fighting the Nazis from the mountains or the idealistic Red Brigades. Meanwhile though The House on Paradise Street attempts a story that heals with the instincts of a woman and mother, while not sitting on the fence either. That phrase then – ‘atrocities on both sides’ – which is such a challenge in places like Syria now, is not quite good enough and is countered with the instinct to expose the Right Wing prison camps, the suffering in women’s detention centres, being much a book about women, and indeed the often ruthless support of the British Establishment up to 1947, that included decapitations of at least dead soldiers.

All potentially at the heart of modern debates too about the role of Greece in Europe, or Germany in Greece, just as a new German company was just exposed as one of the most corrupt of all. Or what happened when the European Troika insisted both on restructuring and savage cutbacks, and the actions of the likes of the Universal banking Spider, Goldman Sachs. It was interesting to see Zinovief take a differently slanted line then in the story of Maud’s children, echoing many things I have heard too, from my Economics teacher friend, or local mothers, about the old fashioned rote teaching methods here, in a sense the patriarchalism of history and National loyalty, and that much of it is about the frustrations and bewilderment of young people. So it references the murder of a young student by police, or the student deaths under the Colonels too, but balances that with a skepticism about ‘hoodie’ anarchy and lost generations. So too I’ve heard among new younger friends perhaps a worrying tendency to grow old or give up too soon, though it’s something many feel facing the vast capital gulfs of today. Don’t give up. Remember the light, the beauty, the future and the Gods that make you eternally young. Greece does have a working Democracy, it is investigating the crimes of Golden Dawn members and it also has a right to talk about the flaws of the European or Global Capital model too. Meanwhile Zinovieff can use the protection of fiction to address things that might cause offense here, or furious over-reaction, like why driving is so challenged, smoking is everywhere, or how the loud shouts of malaka at every slam of a backgammon piece sometimes frightens the non natives. Others might find it a quality of foreign difference and charm.

Much meat for my Greek guest at a barbecue who seemed convinced everything from to Ebola to Iraq is a global conspiracy and that old bug bear too, an Israeli one. With that you can’t really argue the facts though, as much as I might agree with the potential conspiracy of Capital and Corporations to always reproduce themselves, sometimes at deep human cost, because it usually descends into a kind of paralyzed mysticism. Yet I also wanted to chat to him about Parmenides, and one theory that the belief the entire history of Western Civilization is based on Socratic rationalism is in fact a misreading or writing of Plato, Parmenides writing just one fragmentary poem on Nature, and about the Snake and the Cadeucus, theatre, dream caves and Aesclepius too. Perhaps that was the lead in to the discussion too of how to learn and earn the joys of just living simply, free of the storms of the world, in such a beautiful place.

As for Britishness, my other experience of it here though was far less dramatic or imperial, at a friend’s birthday in the little Paradise bar overlooking ‘Mouse Island’, Pontikonisis, just below my house, where someone said the Albanian owner foolishly watered the wine. A group of fifteen English ladies, a German and my fiesty American friend, met for drinks and oily snacks. All of whom had married Greek husbands in the heyday of their romance with Paradise, like Shirley Valentines swept into a sea of passion and new possibility. Another English wife I talked to the day before in Corfu Town though now finds that roots are roots and that for her there remains a gulf of understanding or experience at times with her Greek man. The ladies at the supper are mothers, have jobs teaching, or working in the tourist industry, face the common issues of survival and every day life. Sometimes perhaps a cultural paucity too, or a lack of stimulation perhaps, common to young locals too, though Corfu Town is home to the Ionian University, that makes the likes of the Arillas beer festival a weekend must, engagement with the amateur theatre group vital, or talk of celebrity a place of a special frisson. The big, exciting world.

Now though, since the day Jude Law came, to be naughty or not in his villa, the reps have to sign special non-disclosure agreements. We all like the wild, the naughty and the indiscreet too, life-gossip, if not quite the loucheness of Kavos in the far South. I drove down one day, in search of who knows what, to find Kavos, even emptied of tourists, a gaudy horror story of strip pubs, indecorous lounge pools and Medical Clinics seemingly every 100 metres, to take in the drunk and the wounded, from the evening fights or the blow job competitions. The mayor complained loudly when a British Documentary about it was screened, as if it had offended Greek Honour, or Manhood. In that it probably does offer a cliche of a Brit Package Tour, ever pilloried as being the drunks or thugs abroad. But Corfu is big enough, sexy enough, roomy enough, to allow for that too, like a touch of the dark side in the Southern subconscious. I now call Kavos Corfu’s Torrid Zone.

So to sitting in the immortal Robins Nest in Agios Gordios, the charming little bar run by a sparky lady from Chicago who has been here 29 years, seems to have done everything, lets people flow through her place like magic and say’s she dislikes money and is ‘a trader’, the trade being human potential and fun. From dressing up parties, to the beautiful hand painted rocks that litter her place. “We don’t have Greek comedians” said the young car mechanic glumly, over a Trivial Pursuit question, and there are not many jokes in The House on Paradise Street either, but here there’s lots of laughter. So folk come, year in year out, friends and near family, Robin has four Greek children – from America, Britain, Norway, Serbia, although not everywhere. Since Robin thinks I’m far too posh, and that Pink Palace Hotel above is so very pink, it brings a slight yearning for the days when Sir Frederick Adam got so romantic with his Greek wife. As for how little I know, I never realized William Ewart Gladstone was a High Commissioner in Greece. But that world is gone, as the novel warns modern Greeks should embrace a new if however confusing world that they can only understand by jettisoning both some of the prejudices and especially bitter memories of the past, that essentially feed on the dead. The problem is that Greek identity or the search for it among the sense of pride and self worth is so mixed up in the past, and Soumian’s Marble Steep, that abandoning it sometimes seems like abandoning the Gods themselves, or the roots of language. On the other hand, one of my friends hates all that Greek Bazouki music and all life movement is a battle between past and present, localised or wider horizons. Last year my attempt to contact The Lawrence Durrell Society, for instance, as a Brit writer perhaps dreaming of Consulates, exotic Balkan Trilogies or sexy spies, resulted in a very desultory response. With not only the discovery that the budget had been slashed, and the lease on their building gone, but that lunch up North was far more appealing than making an effort to have a drink with a nosy Brit like me.

Hey ho, perhaps Corfu needs some brand new writers and poets, I thought, if anyone reads anymore, especially as I watched a gaggle of Russian sailors decamp around Corfu town last month, in those huge, flat, wide-brimmed sailor’s caps, that always look decidedly fascist. Apparently one of Russia’s largest warships was in port, The Moscow, docked among the giant ferries sailing between Turin or Venice, and bristling with missiles the size of White Mercedes. Young men in a foreign town, they sat politely in the Souvlaki restaurants, or gathered to drink beer and smoke cigarettes, as they got snaps and it all became part of their life memories too. Perhaps, with Mr Putin’s taste for muscle-flexing and the anguish in Ukraine, they’ll do what the Brits did, and not so long ago according to a nostalgic English friend at super who told me her husband’s stolen boat turned up on the news, used as transport for Albanian drug smugglers, and invite the growing phalanx of Russian package tourists swarming to the island on board for evening cocktails. You hear the Slavic voices in my local shop, Nikki Foros, or on the promontory below the big hotel beyond Mouse Island. It all seems so unreal though, on this generous, gentle island, where EasyJet plans to open Winter routes next year. Except when the sun sets and that nagging warning voice comes again, as you watch the News or look at Mr Putin’s face, that history not only repeats itself, but never learns the lessons of history.

So to what’s above me on the hillside, and apropos of a friend writing to ask me if I had been to the house and palace of Sisi. That rather bizarre and tragic woman, Elizabeth of Bavaria, Empress of Austria, murdered by a young anarchist in 1898, often lived in the Achilleon, the fine white marble mansion bursting with old curios, wide terraces with marvelous views and statues of the ancient Gods, to remind you of Germanic Philhelenism. Achilles is the centre piece, of course, the greatest of especially Greek warriors, only to remind you his wound was weak humanity, or mortality itself, as his mother dipped him in the river Styx, but had to hold him by that Achilles’ heal. Perhaps we should remember though that Athens, the home of those lost marbles, Democracy and Pericles, was also a warring City State, built by men and founded in slavery, or that the best of Greece, like the best of anything, was always a kind of myth.

The Achilleon is far better and more proudly preserved a place than the likes of the dusty museum on Mon Repos, open to 8pm everyday of the year, at 7 Euros a pop. It is of course also the place where the Greek experiment in Europe was first hammered out and then the bailout too. I didn’t visit again, but had an ice cream outside and enjoyed the Cypruses and the glowing evening sunlight, just beyond the sleepy village of Gastouri. Where thanks to lost English friends I first came to visit Corfu, three years ago. I thought of one whose father was murdered and told my new Dutch friend about it. “It happened” he said, “though it doesn’t really now. Often with two warnings and then a shotgun.” The crime has never been solved. That new friend of nostalgic British memories at the birthday supper had offered me a little flat to buy in Gastouri, but do up too, that wouldn’t exactly break a very down trodden bank yet, unless I got caught up in too much skimming off the top. Which my dutch friend remarked in his father’s experience of building, as he criticized the mentality here, especially in blaming others, planned to return for some Eco-living and bravely defended the honesty of his Albanian neighbour too.

Such things remind you always of real people and real lives beyond the borders, images and isms, washed up or not, which is what The House on Paradise Street is about too. I suddenly wondered and thought too it would not be remotely possible if the economy was not down. So to the real question, whether to stay on here writing through the winter, perhaps renting, and where any roots really are now? I thought of the little painting I had given my Scot’s friend for her birthday, a pleasant watercolour of Mouse island, bought in an art shop in Corfu town, then of that US girl who had so strangely wanted to get a very confusing tattoo – “Sail on Ulysses”. Then of the big eyed girl on Agios Gordios, who had so suddenly vanished that evening at Robin’s bar, with no reason and little rhyme, that put me in a bad mood for days. Who had told me of the ancient legend, that Pontikonisis had been the boat of Nausicaa, transformed by the Gods. It added to Nausicaa’s paradox, because while it was the Phoenicians who took poor, belabouring Odysseus home to Ithaca, and Nausicaa is said to have married his son Telemachus, that name never mentioned to patient Penelope actually means ‘burner of ships’. Hmmm, whatever the myths or truth, sometimes it is so lovely here I wonder if the island will let me go.

David Clement-Davies October 2014

Around the World? The photo is from the road above Agios Gordios on Corfu.

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KICKSTARTING WITH SOOKS, SPOOKS, AUSTRALIANS AND DIARIES OF WIMPY KIDS!

Well, having a go this weekend seemed to move some, or at least got people to really read and so the project on Light of the White Bear edges unofficially over 10% and rises to 18 backers too! Thank you so much, but the reason it’s still only unofficial is that through an Australian fan and DJ in Melbourne called Sierra Jane, friends have promised to donate this week, which will at least get that £3 to edge over 10%. Brilliant.

(STOP PRESS – JUST ROSE TO 20 BACKERS AND OVER £730 and 11% ANYWAY = HOPE)

Just to note one of their friends though, or acquaintances, calling me a ‘SOOK’ on Facebook! Clearly the kind of macho Aus ‘man’ who only posts pictures of himself kissing the girls or being beautiful and likes to engage in cyber sniping from the courage of his blind window on the world. In other words a SPOOK. I keep repeating, back room bullies are always cowards and its a major problem in the ‘culture’ of Facebook and other sites. But cheers for that spontaneous act of kindness and generosity, at such a moment!

Being of a generation that doesn’t use cheap dirt farmer outback slang, a sook means a wimp, un-suckled calf or someone without confidence. Always nice to increase the vocabulary. I was going to post back on Facebook but deleted the link in my email, so a few words about it here instead. Having been published by major houses for years in the UK, Aus, Canada and America I never wanted to have to use a medium like Kickstarter and so yes, on that I lack confidence and at times it feels like failure too, or rather humiliating. In fact, after six years of fighting at a blog, reaching only 10% in a week has made me want to throw in the towel early, even hide in an ice cave, and frankly, if donations don’t triple this week I think it’s exactly what I should. But now there’s still a real chance , so we can still get there and it would be great if you could see the video and follow a finger to a Back This Project button too!

But let me ask such a generous young man (this is known as irony) what he thinks a wimp really is? When your partner and someone you loved deeply and trusted too, right in the place of work and creativity, so stabs you in the back, and with a so-called best friend of years in London too, working on a ‘book’ called Hew, Screw and Glue, but then distorts the truth and so leads to the wrecking of a highly successful career too, it can have painful, indeed sometimes wimpish effects! I prefer Munch’s Scream, which was why a novel was once unfortunately called Scream of The White Bear. Men might imagine the danger and agony of that and the rage that came out too.

But wimps do not fight them on principle for two years, while bound there in contracts – authors have no protections whatsoever if powerful private employers get corrupt – then walk away but blog the truth of it too. A truth that was so much about their cowardice in not standing up to be counted, or just stopping the vicious internal politics, the cynicism, that sadly removed my old publisher, as my editor stole his job as Vice President. Then fight a UK lawyer called Manches, funnily enough specializing in posh divorces, who attacked me, as the President of a New York publishing house banned an entire department from reading my complex blog, and talked about protecting only their careers, but I also refused to be muzzled under European Privacy Laws and went on trying to fight back, despite the invasion. A President who now sits on a board against US Censorship, Michael Jacobs, who tried to trash a reputation he had distorted in front of the US Author’s Guild, until they resisted and as ever that particular bully backed down and gave back ebook rights. This publisher meanwhile were still publishing my books and so crippling a right to proper promotion and free speech too, or any self defence over what really happened with an ex and why. As well as snatching away a livelihood and voice that had taken years to forge. Then wimps, sooks or un-suckled calves don’t build a publishing website of quality over several years single handed and give out articles, stories and poetry completely free, because they are so worried about the ‘culture’ of the internet and still believe in the power of real writing too and telling some kind of truth.

Then go on trying to return to main stream publishing with numerous book projects, although a culture has shattered in the Twitter-jerk of cheap blogging comments (like sook) that pass for Democracy and publishing is one of the most ruthless businesses there are. But also turn around and single-handed sue a publisher in the New York Supreme court last year in Manhattan. That can be a little nerve racking. So fighting not one but two major New York attorneys alone, itself so telling about a publisher’s fears and the truth, who ended up provenly perjuring themselves last year, to win their disgraceful case. Rather it was dismissed on the form of an action alone – process – that ‘Mr Articulate’ in Australia could probably not get his pretty head around if he got out of the outback and studied for years, if he can read or write that is. It was dismissed by a Justice who would not let me speak to the court and did not read it, probably because Justice Cynthia Kern can’t be bothered to pick up epics or apply a real brain, not a position won out of the legal secretarial typing pool! The ultimate result of this belief in the word is losing literally everything you can, including a flat in London. So although it may not be entirely wise, sook or wimp just does not do it! That also annoyed though because said publisher also happens to publish the world selling series Diary of A Wimpy Kid, I guess you could rename it Diary of a Sook in Australia. But since it’s probably about dealing with bullies and growing up too, or at least growing, and part of my function was as a guiding kid’s author, I’m probably on the side of the sook. Except when, years back, you’ve stood under a banner in NYC twenty feet high of that precise series, in competition at your own publisher, and been so knifed by the two editors and women you were meeting there, supposedly to promote and protect my own award winning and contracted work, one of them an ex lover who became such an appalling and dishonest friend. The muse murdered the author. Then I guess life, love or anger, not to mention writing, can get on your head a little. Not sook dear, Barton Fink! But hell, sook’s a good word, and now I am being positive, as you’ll see on a Kickstarter video (forgive the puppetry).

If you’d all like to stop judging instead though and help suckle the struggling calf of publishing Light of The White Bear properly, which means real books, and supporting Phoenix Ark Press too, you can join the Kickstarter mission this critical week by CLICKING HERE

Thank you!

DCD

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THE FLAMES OF HEAVEN AND HELL, FIFTY SHADES OF GREY AND THE BAD PHOENIX ARK MIRACLE

THIS ARTICLE HAS BEEN SUSPENDED AS TOO INVASIVE TO DCD AND TOO MANY PEOPLE

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THE ANDREW MITCHELL THING

Never thought we’d come out for Andrew Mitchell, but leave it all alone! We do not want democracy by witch hunt, nor push buttons either, so real characters are involved, who make real mistakes. Nor, if he did say it, is it so much worse talking ‘plebs’ than talking a bunch of ‘posh’ gits in the cabinet. All jolly British rough n’ tumble. The police association bloke is going on about it in the media as leverage against police cutbacks and it’s pure politics. If the policeman involved is really so traumatised by it, then let him bring a civil action.

PA PRESS

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