martes, 11 de junio de 2013

Coincidences

Do you believe in coincidence ?  I remember back in the day, when I was doing a bit of Anthropology at Uni, noticing that the difference between cultures where belief in magic is still prevalent and our own, is that in these "older", "earlier" cultures, for want of better words, everything has a cause. Your goat just died ? Someone bewitched it. Maybe it died of a well-known disease - but why did the disease infect my goat, and not my next-door neighbour's ? Because he's a witch ( although he thinks I offended the gods, or whatever.) That raven sitting on a signpost in front of you ?  Obviously a sacred bird telling you something, if only you could learn the secret language of ravens.

                                       
                                                 Answers on a postcard, please.

Now, I'm a sophisticated twenty-first century man-about-town, so when my goat dies, I just put it down to my bad luck.  And I know birds don't really fly around communicating with me, they're just doing their own birdy kind of stuff, and if they happen to do it on my head, well, it's just a coincidence. It's probably a good thing to take this point of view, on the whole : I've found that accusing your neighbours of witchcraft, and telling everyone that magpies are talking to you in their beautiful avine language, gets you off on the wrong foot with your Comunidad de Vecinos. 

"Bad luck" and "coincidence" aren't proper explanations, though : they're fall-back explanations, shorter than saying twenty times a day  "Hey, I don't have a clue what this is all about." . They don't explain anything. A coincidence is a combination of two elements, events, whatever, which look like they're connected, but they're not. Except they are : they're connected by the fact that we notice them, and, since human beings are story-telling animals, we start to weave a pattern out of them.

 Just recently, I came across the mother of all coincidences.

After the Summer from Hell 2 years ago, my sister and I spent a lot of 2012 going back to the house in Wales and clearing stuff out. One day I might develop the expressive resources to explain how strange, painful, and occasionally funny the business of packing our parents' lives into boxes and throwing most of it away was. But like a lot of stuff at the business end of death, it was a job which had to be done , and we did it, a week together at Easter, otherwise taking turns.


                                               A tiny, tiny, tiny fraction of the stuff.

By September we'd got everything cleared out. Ailsa handled the last part of it, and I'm quite glad I never saw the house empty; so much of ourselves, of what we are, is actually there in the space we occupy, in our STUFF ( for want of a better word ) that I think it would have upset me to see thirty years of our life as a family reduced to memory, as if they had never happened.

Anyway, the house in Church Street went on the market, attracted bidders, we accepted an offer, endless farting-around with estate agents, lawyers ( whose activities make the secret language of ravens look reasonably intelligible ). and in April the contracts were exchanged.

We were cheered up considerably to find that the "unknown bidder" who'd been in the shadows while all the legal folks talked to each other, turned out to be Eleri, the daughter of Jane Edwards, our next-door neighbour. Ailsa and I had wanted to sell because we're too far away to really use the house, and it's a house that deserves to be lived in, so to sell to somebody local, who we knew, looking to start  a family close to her own family, was exactly what we would have wanted. Eleri had known my family since she was a child, had been to the funerals, and her Mum had been very kind to us, especially during my Dad's last illness and in keeping an eye on the house in the 18 months it had lain empty. So this was perfect, really.

Now for the strange part : when we cleared the house, the estate agent suggested leaving some carpets in place. Apparently it makes it easier for people viewing to imagine a comfortable, homely place, than just bare floorboards. So it was left to Eleri and her husband to clear the last of the carpets out and take them to the skip, and so they found the photograph.

Now, my Dad was a keen photographer, always taking an array of battered 1950s and 1960s cameras with him on walks, always on the look-out for a photo. This meant that when we cleared, Ailsa and I threw out thousands of photos : we kept a lot, but there's only so much you can keep. But one particular photo must have fallen out of somewhere more than 20 years ago, slipped down under the carpet in the spare room, unnoticed and forgotten. Which is where Eleri found it when she lifted the carpet.

It was a photograph of her, aged about 3 years old, taken round about 1986.

I don't really believe in coincidence, or in magic ( although if my Dad planned that one, it beats most card tricks I've seen ). Perhaps it's no more a message than the raven. But it is strange to think of that photograph, lying there forgotten more than 20 years in the dark as our family life moved noisily over and around it, the last 18 months in the empty house that didn't really belong to anyone, waiting for the moment to be found. And as a story-telling animal, I'm entitled to say that it feels like the old house welcoming the new family, telling them it's a good place to be and it's good for them to be in it.



lunes, 3 de junio de 2013

King Eystein and Mr. Mourinho

Well, I wrote this really long blog entry thingy, but reading it back it just looked bloated and flatulent and self-important. So I've done you the favor of deleting it :  here's the edited highlights. I guess this makes it kind of interactive : if you don't think it's a brilliant analysis of a complex topic,, it's because you've misunderstood my genius.

1.  Press conferences after the Spanish Cup Final.

2.  Ego, the Living Planet ( with picture ).

3.  School management.

4.  Jesse's Song from Ugly Betty. See it here :

http://www.youtube.com/watch?v=oiRBoewcU4k

5.  Two football quotations.

6. And where I wanted to finish up : King Sigurd and King Eystein, by Sheenagh Pugh.

I've known and loved this poem for more than 25 years. Sheenagh took the incidents described from one of the Old Norse sagas . I love the way she uses the punctuation to say so much, and the placing of the word "kinsman" in the last line.When I first read the poem in 1985, I thought " Boo to King Sigurd ! " As you grow older, of course, and re-read the poem, the penny drops that we've all got a bit of Sigurd and a bit of Eystein somewhere in there.Oddly enough, for a poem written in the early 1980s, it strikes a chord with the whole Facebook phenomenon.

King Sigurd and King Eystein, by Sheenagh Pugh

( From an incident in Heimskringla Saga : Snorri Sturlusson ).

"When I went to fight in Saracen country,
seven times I had the victory,
and where were you, kinsman Eystein, then ? "

Northwards in Vaage, building the fishermen
smoke-houses; they have work all seasons now.

"In Apulia I did not see you
on my crusade; where were you at that time ?"

Setting up inns on the road out of Trondheim
where night frosts used to freeze the traveller.

"I saw Christ's tomb; I did not see you there."

At Agdaness the ship-grave, I had made
a harbour, to save men's lives when I am dead,
and but for my life, it would be worse for them.

"What were you doing, brother, when I swam
the Jordan river, or when I tied a knot
by the bank, and promised my kinsman should come out
on that holy journey, and untie it again ?"

I was bringing under our rule the Jemte men,
not with war, but with good words. And a man unties
the knot he finds, kinsman, where he is.


I just love that poem : also ( English Lit. hat on, kind of Shakespearean thing with a feather in the top ) full of clever, subtle music. Look at how the brothers' words echo each other through rhymes and half-rhymes. 

King Sigurd and King Eystein is taken from Selected Poems by Sheenagh Pugh, quoted here with permission. This, like all her poetry as far as I know, is published by Seren Books.  Her website is worth looking at:

http://sheenagh.webs.com/ 








lunes, 15 de abril de 2013

Margaret Thatcher - oh good God...

Oh dear... I don't normally go in for the political stuff - but I'm not sure my point of view about what's going on in Britain right now is actually political. I mean, I don't have any faith that Labour, the "Liberals" ( God help us ), or even Plaid Cymru are going to save us, so I'm not asking for the vote for anyone, or even civil disobedience.

I've been away from "Britain" (inverted commas, not sure how far the concept exists outside the Olympics ) for almost twenty years - apparently Mr. Blobby's not so big any more. But it seems like an increasingly surreal place. In case anyone's not heard, on Wednesday there will be a state funeral ( to all intents and purposes ) for a much-loved Prime Minister, rolling through London with military guard to St. Paul's cathedral the first since Winston Churchill to receive this honour. With a level of security to match the London Olympics. Not because of Al Quaeda etc., who probably haven't heard of the lady. They need that level of policing to stop protesters from interfering with this national heroine's honours.

Now, I'm one of the few people you might find who thinks that this woman was neither a saint nor the Wicked Witch of the West. I'm old enough to remember, from a child's point of view, Britain in the 1970s : strikes, power cuts, inflation; some of what Margaret Thatcher did to begin with looks sensible to me : get the unions back under control, privatise industries which have no need to be state monopolies ( telephones etc.), even the Falklands ( described memorably by Jorge Luís Borges as "dos hombres calvos peleando por un peine", two bald men fighting over a comb ) if you accept, perhaps charitably, that the motive was to protect British citizens from a nasty right-wing dictatorship.

But legacy... when a lot of her fans talk about her legacy, how she made Britain great again, they're using words in ways that I don't understand. Now, as I've been known to tell my students, History is always about the present, and the debate about any political figure is always a conversation about the here and now. Can these people really be saying that where we are now is a good place ?

Two aspects of this legacy I think are particularly sad. It may be that these were unintended. The conversion of the UK economy from an industrial base to an economy centered on services, tourism, financial services has increasingly made it a London-centered country ( and London is more or less now an independent enclave within the U.K., gradually being sold off to Russians, Qataris, etc. ). The Scottish Parliament and Welsh Assembly are a consequence of the way the Conservative Party has become an exclusively English affair, provoked in turn by the way those countries were handled in the 1980s. If Scotland goes in 2014 - and I would bet that the "Thatcher Dividend" some newspapers are talking about is more likely to go to the SNP than the Tories, as people get to watch on Wednesday what their taxes are spent on - then Wales will go within a decade, unthinkable even 10 years ago. And that will be Britain gone.

The other ? The dangerous little idea that imposing your views on the 50 % of the population who disagree with you is somehow admirable. In fact, that was always part of the Thatcher myth more than reality; but it's been taken up by a whole raft of idiot politicians who think that if they defend a point of view which is truly offensive to a large proportion of their population, then this PROVES that they are right.

There isn't a statue of Margaret Thatcher in London : even a bust made for the House of Commons got destroyed as an act of protest some years back, I think.I hope things are respectful on Wednesday; I'm glad I'm not paying for it, although I'm annoyed my sister, an NHS nurse, has to ( and I haven't even started on how her governments set in progress the movements which put ever greater pressure on teachers, doctors, nurses, etc., while letting bankers regulate themselves ). It would be nice to think the media attention might one day be lavished on someone who brought people together, rather than divided them.

miércoles, 20 de febrero de 2013

Dermot Bolger

If  you saw The Parting Glass, and you're one of the folks who were deeply moved by what you saw and heard in the Centro Gallego, then the best place to start to find out more is undoubtedly his website : http://www.dermotbolger.com/

Dermot wrote this wonderful play which moves from realism so bare and taut that it brings tears to the eyes, through the deep poetry of life and into stand-up comedy. Apart from that, he got in touch with us when he found out we were doing his play, which meant a lot.

"Fear no more the heat of the sun,
Nor the furious winter's rages.
Thou on earth thy time hast done,
Home art gone, and ta'en thy wages.
Golden lads and lasses must,
Like chimneysweepers, come to dust."

I've written that from memory, so there may be a mistake or two in there : it's the song from Cymbeline. I remember one of our supervisors on the Shakespeare paper at uni, who managed to scare the shit out of  Paul Weeks and myself with sheer colossal erudition, when we got to the last scene of the Winter's Tale, he just got us to read it aloud. Good man; there's poetry / poetic theatre whose magic runs so deep that you just have to let the words work their spell. And Delyth's playing captures this.

The rest of the CD is as good, particularly if you like Under Milk Wood.

"Llais" ( "Voice" in English ) is on Steam Pie Records.

lunes, 18 de febrero de 2013

Delyth Jenkins : Fear no more the heat of the sun

On a totally different note, I've been getting into harp music recently, Sofi bought me a nice Robin Huw Bowen CD for Christmas. To keep me calm in the run-up to the play, I've also been listening a lot to the wonderful harp playing of Delyth Jenkins, from Swansea, who often writes for the theatre : here's a link to a piece she wrote for Cymbeline, played in a tent : I don't see how it can have been posted on Youtube without her permission, so I guess it's o.k. to share.

http://www.youtube.com/watch?v=Xe2tBaRGq8g



The Parting Glass : parting thoughts.

Well, that was interesting.

The Parting Glass - the play by Dermot Bolger I directed for Madrid Players, was, I think, a pretty fierce success. Certainly, a number of people spoke to me afterwards and told me how it felt like we'd put up a few pieces of their life on the stage, and situation after situation in the play touched them deeply. It's not the only kind of theatre, but it's the kind of theatre I like.

We also, I think, achieved what I was hoping for on Friday evening. We had a relatively small audience, some 45 people in all, and it was clear from the opening lines they were with us - John McClafferty's opening monologue got laughs in places I hadn't suspected. Now, the difference between laughter and tears as a physiological response isn't so great, and so all the laughter was setting up the bite of the play later on ( apart from, of course, the obvious fact that it's nice to make people laugh, and as an actor it always gives you confidence ).

And from there the energy just built, and I think we got what you hope for, but don't often get in a theatre : audience and actors so involved emotionally with the story unfolding that it creates a little community in there, and the energy coming from the audience feeds into the actors' performances.

Saturday wasn't quite the same : a bigger audience, a bit slower, I could see this rattled the actors a little early on. It was still technically a very strong show, but we didn't have that little bit of magic we'd had the night before.

I've no doubt I'll happily continue babbling later in the week.

In the meantime, I'm starting to develop a case of the DTs. More about that anon...