Tuesday 1 January 2019

isaac deutscher's brief lives


(This article is about 1,400 words long, so will take approx. 5 minutes to read).

I’m about halfway through Isaac Deutscher’s biographical trilogy about the Russian revolutionary Leon Trotsky, recently re-published in one volume by ‘left’ publishing house Verso (I like to promote their occasional 80%-off ‘flash sales’ on social media: fill your boots). 


I say ‘halfway’ – we’re up to the New Economic Policy (1921-2), also Lenin’s gravely ill and may not have the strength and tenacity to make his increasing misgivings about Stalin known within the Politburo and Central Committee of the world’s first Communist state, so things are about to go badly awry for Our Man. 


(Some books take a while to get through, of course; Iris Murdoch’s Metaphysics as a Guide to Morals took me three years).


One thing to say in recommendation of Deutscher is that this isn’t jargon-ridden, dry, sectarian or anything of that kind – sure, there’s a certain level of detail, you’d expect that, but he’s alive throughout to the human implications and costs of what he describes, first for the revolutionaries themselves during the long years of underground struggle (Lenin and comrades keeping the show on the road in Edwardian London, dodging secret police and keeping on the right side of English neighbours and landladies rather recalls Joseph Conrad’s The Secret Agent, one of my favourite short novels) and then for them and Russia more generally during the tragic outworkings of war, civil war, famine, industrial collapse and nascent ‘proletarian’ dictatorship. 


More positively, though Deutscher approvingly quotes Carlyle in framing what he intends, I was also reminded of Gibbon’s Decline and Fall (perhaps because I haven’t read Carlyle). There’s the same humane irony, the same deft use of footnotes and, above all, the same ability to sketch within single paragraphs entire lives which, while minor in overall world-historical terms (like your life, my life), were nevertheless illustrative of the times and milieux within which they were lived. For instance:


The most original character is this plĂ©iade [involved in the production of Pravda in Swiss exile during World War I] was Adolphe Yoffe. A young, able but neurotic intellectual of Karaite (fn26) origin, Yoffe was sharing his time between academic work, contributions to Pravda, and psychoanalysis. Through Yoffe, Trotsky met Alfred Adler (whose patient Yoffe was), became interested in psychoanalysis, and reached the conclusion that Marx and Freud had more in common than Marxists were prepared to admit (fn27). In Vienna Yoffe struggled desperately with recurrent nervous breakdowns; and the contributions which he produced with painful effort needed much editorial rewriting. Trotsky did his best to befriend him and to boost his self-confidence. In 1917 Yoffe was one of the chief actors in the October insurrection and later in the peace negotiations of Brest Litovsk. (In his private papers Trotsky remarked that the revolution ‘healed Yoffe better than psychoanalysis of all his complexes’.)(fn28). Yoffe was to repay Trotsky’s friendship with boundless devotion, and in 1927 he committed suicide in protest against Trotsky’s expulsion from the Bolshevik party.

(fn26) The Karaites were a sect which abandoned rabbinical Jewry in the middle ages to return to the pure Gospel. 
(fn27) After the revolution Trotsky appealed to Bolshevik scholars to keep an open mind to what was new and revealing in Freud. Sochinenya, vol. xxi, pp. 423-32. 
(fn28) The Trotsky Archives. 


(Isaac Deutscher, incidentally, knew a thing or two about revolutionising one’s own view of the world and form of life, also about lives shadowed by history and tragedy. His own ‘brief life’ – or, if you like, Wikipedia page, I love the twenty-first century, don’t you? - runs as follows: a gifted Talmudic scholar in youth, he tested the question of God’s existence by deliberately eating non-kosher food at the grave of a tzadik on Yom Kippur. When nothing in particular happened, he assumed the null hypothesis. He then escaped the Holocaust quite by chance, as he was in the U.K. as the London correspondent of a Polish newspaper at the outbreak of the Second World War. In later life, he wrote about Jewish identity, socialist internationalism and the political realities of the Middle East, seen in the light of one another).


So why should you read this ‘magisterial’ (humanities jargon) biography of Trotsky now

Well: because liberalism and centrism came juddering to a halt on or about 9th November 2016 (yes, it’s still alive but then there’s also a living Jacobite heir to the British throne, goes by the name of Franz, Duke of Bavaria, nice enough chap); the political terrain we’ll now need to live in and contest comprises climate catastrophe, extinction rebellion, Gotterdamerung capitalism facilitated and enabled by new and sinister forms of highly managed, highly surveilled (and, likely, ‘illiberal’) democracy, and so on and so forth. 

In this new landscape, there’ll likely to be both old (reanimated, repurposed) and new ‘-isms’; in a landscape where the same public figure can claim to be anarchofabulous and ‘literally a communist’ (back in the day, someone in the actual 1920s Comintern would’ve had a word), it’s all up for grabs. A world to win and all that.

(See also - if you haven't yet - Ash Sarkar calling Piers Morgan out on Good Morning Britain for being, as he is, an unpleasant, rude far-right troll rather than any kind of serious journalist). 



Of course, what we all need to do more than ever is learn to distinguish truth from lies – and, because we live embodied lives rather than as ‘brains in jars’, this has to be a broad process of psychological maturation as well as a narrow one of ratiocination and logic. In my late teens, I was fascinated and rather seduced by Marxism (sketchily understood; grasped by reading beginner’s guides and attending occasional meetings the way a moth attends occasional lightbulbs) even as first the “people’s democracies” of Eastern Europe and then the Soviet Union itself imploded. Adolescents aren’t known for their groundedness and their realism, of course. 


Trotsky’s words, in Literature and Revolution, particularly thrilled me: 

The forms of life will become dynamically dramatic. The average human type will rise to the heights of an Aristotle, a Goethe, or a Marx. And above this ridge new peaks will rise.

Wow, what’s not to like about that? Bring it on! 


Except that these kinds of sentiments and promises are, in a sense, unmoored, free-floating, not backed up with hard currency – and I think what’s also more discernible now than then (speaking historically as it’s 2019 rather than 1919, but also personally following two or three decades of actual life experience) is that these kinds of sentiments are more like mysticism and faith arising from the eschatological Judaeo-Christian heresy that Marxism-Leninism arguably was rather than the science that it pretended to be (see also scientism, Karl Popper etc). If this framing of Marxism-Leninism sounds far-fetched, recall that Deutscher entitled the three volumes of his original biographical trilogy ‘The Prophet Armed’, ‘The Prophet Unarmed’ and ‘The Prophet Outcast’; you’ll find the concept of prophecy in the Bible (and in Walter Brueggemann if you also read theology), you won’t find it as such in Marx.


Similarly, you’re perhaps deceiving yourself about point of King Lear, Faust, Capital or whatever if you’re too awe-struck, too genius-rapt: there are geniuses for sure but, as life is lived in its particulars, it’s not a useful foreground concept when reading literature or philosophy. 


There’s a whole character typology (or, better, development stage) that this links to, more benevolent when it comes to humanity in general than to actual persons in particular, which Carl Jung has thought and written brilliantly about, and which Stephen Johnson’s more recent integrative work also covers. This is highly relevant in thinking about Leon Trotsky, the anti-war activist of Zimmerwald who went on to lead the Red Army, the liberationist who fired on the workers at Kronstadt etc etc.


The New Left thinkers of the 1960s – meaning Perry Anderson, E.P. Thompson, Stuart Hall and the like, with Isaac Deustcher was a kind of patron saint – were also engaged in thinking some of this through, asking themselves questions about how history, culture and identity politics intersect and whether there’s a Marxian humanism worth digging out from under the rubble of vanguardism and Sovietism [see, for example, E.P. Thompson's Socialist Humanism: An Epistle to the Philistines in the New Reasoner #1, Summer 1957]. 

One wonders how these aren’t urgent questions once again and why their work isn’t flying off the shelves. Perhaps it is (if Corbynism were better, it would be), my bourgeois dilletantism is such that I haven’t even phoned Verso’s offices to ask for updated sales figures. At least I let you know about their flash sales, however: just call me the Martin Lewis of the critically-engaged left.



(See also: Stefan Collini celebrating, in 2010, the 50th anniversary of the New Left Review, founded in 1960).     


Monday 24 December 2018

wishing you a merry christmas; thanks for reading


A Merry Christmas to you if you celebrate it; may it bring you what you’re hoping for books-wise (Aphra Behn, Catullus… Yevtushenko, Zamyatin, that Mark Adlard Omnibus you’re hoping someone’ll buy you) and also spiritually. This festival which, in literal terms, celebrates the birth of the Christ child could also be said to celebrate a more inward, spiritual and/or cosmic process of bringing to birth (Romans 8: 18-25).

Favourite Christmas movie: High Hopes, dir. Mike Leigh (1988). Does that count? Only watch it if you’re enjoying the company you’re with; if you’re not, it’ll make you want to run away to North London in the 1980s to be a cynical bedsit-dwelling Marxist with a heart of gold… and we know the paradoxes that time travel can create, just look at Jacob Rees-Mogg’s efforts to take Britain back to the 1950s or, to be even-handed about this, Momentum activists with their 'Arm John McDonnell' t-shirts.

Favourite Christmas song:Just Like Christmas’ by Low; with very few lyrics, it manages to be about ‘Christmas’ as the ultimate floating signifier and about how, phenomenologically, an experience can be both ‘like Christmas’ and ‘not like Christmas’. It also – like ‘Tiny Children’ by Teardrop Explodes – has sleighbells on, which (as with some of David Foster Wallace’s best writing) rather ironises irony itself (see also DFW on ‘the redemptive power of clichĂ©’; let's be sincere with one another, even if we're using secondhand words to do it). Also 'Jesus Christ the Apple Tree' (not this version obviously, the dubstep remix).
 
Favourite Christmas story: *the* Christmas story, of course, ‘A Christmas Carol’, also Grace Paley’s ‘The Loudest Voice’ – you could say that it’s about ‘interfaith’ or ‘the second/ third generation American-Jewish experience’ or you could say it’s a tender, funny story about childhood and the school Christmas play. You can here Grace Paley read this to you at this Vermont Public Radio link – thirteen minutes long and well worth twenty-six minutes of your time (because you’ll want to hear it at least twice).
  
Thanks for reading; I may tell you more about Isaac Deutscher on Trotsky plus Andrei Tarkovksy’s ‘Nostalgia’ and other reading and viewing on January 1st.

Photographs taken in Bookbarn International, Farringdon Gurney BS39 6EX
 


chestnuts boasting on an open fire


Saturday 13 October 2018

twenty-seven word review of 'rod hull: a bird in the hand'

Emigration, non-speaking ventriloquism, violence, Jim Badger the producer; infidelity and death; reading this documentary and Yalom’s Existential Psychotherapy in the light of one another disrespects neither text.

N.B. As this is a light-hearted documentary made during the seven years following its release, Air’s Moon Safari is used for some of the background music – a statutory requirement under U.K. broadcasting legislation, since lapsed.



Documentary available in full on youtube (click here) - existential overtones, Moon Safari and all. 

twenty-seven word story, dedicated to knott's four-figure mathematical tables (no longer selling so well)

Friends, retro-obsessed hipster mathematicians, are having an excerpt from some four-figure mathematical tables read when they tie the Knott - a sine their love will grow (exponentially).

Wednesday 3 October 2018

'writers unchained', this sunday 7:30pm, southbank club, bristol bs3 1db

If you could visit the late 1970s by way of an ATOL-accredited package tour, *would* you?

You can hear me read my new time travel story, 'Some Things Just Stick In Your Mind' - and hear some other amazing work by local writers (drama, passion, sensitivity, laffs) at Writers Unchained this Sunday.


(You can always watch Dr. Who on catch-up).



Saturday 1 September 2018

she studied sculpture at st martin’s college: twenty-seven word reviews of films about beatniks, zombies and other riff-raff


Night of the Demon (1957, dir. Jacques Tourneur, starring Dana Andrews, Peggy Cummins, Niall MacGinnis) -  Superlative, sweatily claustrophobic Satanism-themed British chiller: psychological subtlety, sympathetic performances, expressionistic camera work combine. The uncanny works best when laced with the absurd, e.g. ‘Cherry Ripe’, sĂ©ance.


Pub quiz trivia fact: the sample at the very beginning of Kate Bush’s Hounds of Love ("It's in the trees! It's coming!") is from this movie.
Beat Girl (1960, dir.   Starring Gillian Hill, Adam Faith, Christopher Lee)   – Architect dad, Parisian stepmum, St Martin’s College beatnik daughter. One worries for ‘City 2000’ (architectural model, clean lines, bevelled concrete, Dad’s pride and joy): Chekhov’s gun? Wild!     

The Apartment (1960, dir. Billy Wilder, starring Jack Lemmon, Shirley MacLaine) –   Sparkling dialogue; light satire of known yet not-known cruelties. This film’s almost tragic as Romeo and Juliet’s almost comic – in art, as in life, timing is everything.



Five Easy Pieces (1970, dir. Bob Rafelson, starring Jack Nicholson, Karen Black) - Sexual politics =early-1970s time-bound – gain existential authenticity by treating women badly – class politics less so? Compelling: naturalistic performances, sly humour (Alaska-obsessed hitchhikers); ‘open road’ movie; downbeat ending.


“If you've been affected by some of the issues raised in this movie”, you might be interested to read Jefferson Cowie’s Stayin’ Alive: The 1970s and the Last Days of the Working Class, which is about class politics, trade unionism and the American political and cultural landscape more broadly during that turbulent decade. 
Stuck On You (2003, dir. Farelly brothers, starring Matt Damon, Greg Kinnear) – Owned stupidity can alchemise into sublimity, as with this… entertainment, which includes ice hockey, conjoined twins, diners, fighting, L.A., Meryl Streep and a Producers-esque Cher subplot. Sick!

Leap Day (2010, dir. Anand Tucker, starring Amy Adams, Matthew Goode) – Young woman plans February 29th proposal to commitment-phobic fiancĂ©. Transportation snarl-ups develop; predictable Platonic conclusion ensues (half-souls encountering one another); stereotypical though scenic depiction of rural Ireland.


One Day (2011, dir. Lone Scherfig, starring Anne Hathaway, Jim Sturgess; adapted from David Nicholls’ novel of the same name)– Two students ‘connect’ at graduation, celebrate every 15th July since. Great performances, scenery. Characters believably (unevenly, slowly) learn, unlearn, develop. This honours, transcends rom-com formulae. You’ll cry.




We Have To Talk About Kevin (2011, dir. Lynne Ramsay, starring Tilda Swinton, Ezra Miller, Jasper Newell, John C. Reilly; adapted from Lionel Shriver’s novel of the same name) - Glancing, perverse references to Warhol, Pollock, Edward Hopper etc help this tough, powerfully acted film evoke dislocation, trauma.   Travel, art, freedom (Apollo) versus blood, seediness, tragedy (Dionysus).


The Girl With All the Gifts (2016, dir. Colm McCarthy, starring Helen Justineau, Sennia Nanua, Paddy Constantine; adapted from M.R. Carey’s novel of the same name, reviewed here) – Halfway, wife tells friend and I to stop mentioning what this adaptation omits = character backstories, Junkers (+switched ethnicities – why?); film accelerates, gains confidence after Gallagher’s off-licence death.




Geostorm (2017, dir. Dean Devlin, starring Gerard Butler as brilliant but maverick scientist with unresolved family issues) - Moderately absurd, +entertaining, +clichĂ©-prone (see above… +boy with dog) climate-themed technothriller. How would Hollywood-budget dramatisations of real climatology/ effective politics look? Would/ wouldn’t intermittently break fourth wall…?   
Mary Shelley (2017, dir. Haifaa al-Mansour, starring Elle Fanning, Douglas Booth) – Imagination, family troubles, coming of age, political revolt, ‘free love’ (intersectional with gender, social class, money etc then and since); engaging biopic of science fiction’s founding genius. 












teleportation, demigods, hackney, stevenage etc: twenty-seven word reviews of some books I’ve read recently


Lynne Segal’s Making Trouble  Personal is political in this engaging, thoughtful, inclusive ‘I-witness’ memoir; lived experience of 1970s socialist/ feminist community politics belies any easy ‘class struggle vs identity politics’ dichotomies.  
Alfred Bester’s The Stars My Destination  - Characterisation= ‘will to power’ animating bundled instincts (hardboiled). Worldbuilding= exemplary: ‘what if human teleportation?’, a well-worked 1950s thought-experiment paralleling our own real one, ‘what if the Internet?’
M.R. Carey’s The Girl With All the Gifts -  Cohort of children (or are they?) confined to dystopian secure unit, thirty years after convincingly rationalised zombie apocalypse which wrecked Stevenage (+everywhere else). Terse, ethically complex, gutsy.
Percy Bysshe Shelley’s Prometheus Unbound  -  Extraordinary flashes of imagery, insight – only momentarily tethered to lived experience (is that romantic revolt?). Potentially totalitarian ‘liberationist’ kitsch (Difference Engine-style alternate post-1832 timelines); Frankenstein’s less assimilable. 
** What if Percy Shelley was, himself, brought back from the dead by unnatural means and forced to re-write Prometheus Unbound but with zombies and 1970s trade union/ community activists in it? It would feature undead demigods throwing Alps at, and arguing interminably with, one another in blank verse committee meetings, plus a subplot involving the Amalgamated Federation of Undead Persons (AFUP). 




Wednesday 1 August 2018

russian history lesson

Alexander Kerensky maintained a “no enemies to the left” strategy, and it didn’t work out very well for him in the end.

Okay, let’s qualify that: it didn’t work out for him politically. He spent the 1950s and 1960s teaching Russian history at Stanford University, and he’s buried in the same cemetery as Sandy Denny from Fairport Convention, also Hattie Jacques who was in Carry On Nurse; there are worse fates.

idea for a comedy sequel to ‘the time traveller’s wife’


Idea for a comedy sequel to The Time Traveller’s Wife, to be called The Time Traveller’s Toilet.

This film is about the man who, once he visits any toilet, may emerge from any other toilet across space and time – it could be a posh WC at the Dorchester Hotel during the roaring twenties, it could be a brick privy in the Gorbals during World War Two, it could even be a dunny in the Australian outback in the post-apocalyptic future. Of course, he tries to keep the door fractionally open and to make use of incontinence products in order to avoid this outcome, but sooner or later the inevitable occurs.

Alan Davies, quizzical but in a relatable way, to star – as this film must not, repeat must not, degenerate into slapstick. Also to feature Mikhail Gorbachev in a cameo role as himself, for gravitas.