In Parenthesis – Part 7,
pages 183-186 (1937)
By David Jones
It’s difficult with the weight of the rifle.
Leave it–under the oak.
Leave it for a salvage-bloke
let it lie bruised for a monument
dispense the authenticated fragments to the faithful.
It’s the thunder-besom for us
it’s the bright bough borne
it’s the tensioned yew for a Genoese jammed arbalest and a
scarlet square for a mounted mareschal, it’s that county-mob
back to back. Majuba mountain and Mons Cherubim and
spreaded mats for Sydney Street East, and come to Bisley
for a Silver Dish. It’s R.S.M. O’Grady says, it’s the soldier’s
best friend if you care for the working parts and let us be ‘av-
ing those springs released smartly in Company billets on wet
forenoons and clickerty-click and one up the spout and you
men must really cultivate the habit of treating this weapon with
the very greatest care and there should be a healthy rivalry
among you–it should be a matter of very proper pride and
Marry it man! Marry it!
Cherish her, she’s your very own.
Coax it man coax it–it’s delicately and ingeniously made
–it’s an instrument of precision–it costs us tax-payers,
money–I want you men to remember that.
Fondle it like a granny–talk to it–consider it as you would
a friend–and when you ground these arms she’s not a rooky’s
gas-pipe for greenhorns to tarnish.
You’ve known her hot and cold.
You would choose her from among many.
You know her by her bias, and by her exact error at 300, and
by the deep scar at the small, by the fair flaw in the grain,
above the lower sling-swivel–
but leave it under the oak.
Slung so, it swings its full weight. With you going blindly on
all paws, it slews its whole length, to hang at your bowed neck
like the Mariner’s white oblation.
You drag past the four bright stones at the turn of Wood
It is not to be broken on the brown stone under the gracious
It is not to be hidden under your failing body.
Slung so, it troubles your painful crawling like a fugitive’s
David Jones was an artist and poet who served in the trenches as a Private soldier from 1915 until 1918, was wounded at The Battle of The Somme, and spent more time on active service than any of the other First World War poets. Although less well known now than Owen, Sassoon and others, he was regarded by Auden, Yeats, Pound and T.S. Eliot as the outstanding poet of the First World War.
Jones grew up in London and studied at Camberwell School of Art. His father was a printer’s overseer and originally came from Wales. From his early childhood, Jones saw himself as Welsh and developed an interest in Welsh history and literature. His poetry often draws on this and on the vernaculars of Cockney and Welsh hill farmers which Jones encountered in his regiment.
Jones began writing poetry more than ten years after the 1918 Armstice, publishing his first major work in 1937. He continued painting, drawing and writing poetry throughout his comparatively long life in between episodes of depression caused by what would now be called post traumatic stress.
In 1921 Jones converted to Roman Catholicism. He said that “the mass makes sense of everything” and much of his poetry is religious. Obviously, we at Shiraz wouldn’t agree, but that doesn’t detract from the power of his poetry.
Above: trailer for the 1961 film version
Review by Jean Lane (also published in the current issue of Solidarity):
A Raisin in the Sun was written in 1959 by Lorraine Hansberry (1930-1965), the first black woman to have a play performed on Broadway and the inspiration behind Nina Simone’s ‘Young Gifted and Black’.
The play is set in an overcrowded Chicago slum apartment just before the emergence of the civil rights movement. The Youngers, a working class family comprising of grandmother Nena (Mama), her son Walter with his wife Ruth and child Travis, and Walter’s sister, Beneatha, are about to come into an insurance pay-out of $10,000, after the death of Nina’s husband. The potential opportunities that come with it, cause tension.
Walter wants to use the money to realise his dream of self-advancement by investing, along with his old street friends, in a liquor store business. His sister, Beneatha, is studying to become a doctor. She is experimenting with radical ideas new to her family such as atheism. She berates one boyfriend for his assimilation into white culture and is being drawn by another, a Nigerian medical student, into the ideas of black nationalism and anti-colonial independence.
Arguments over the money and the cramped conditions of the Youngers’ lives are exacerbated when Ruth discovers that she is two months pregnant. Her relationship with Walter reaches breaking point when Lena refuses to fund the liquor store idea. Instead, Lena puts a deposit down on a larger house in a solidly white neighbourhood. Eventually Lena relents and gives the rest of the money to Walter to use as he sees fit, with the proviso that he keeps back enough of it to pay for his sister’s education.
A representative of the white neighbourhood, Karl Linder, turns up with the message that they would far rather the Youngers did not move in as they would not fit in, and offers to buy the house from them. With righteous indignation from the family, Linder is sent packing by a Walter now imbued with a sense of confidence, as a young up and coming business man. However, Walter’s friend, Willy, runs off with all the money including that for Benathea’s education. Walter’s chance to prove himself a man deserving of respect again seems far away. To the horror of the three women in his life, he contemplates taking the money from the white man who says that they are not good enough to be his neighbours.
The dashing of the family’s dreams of a better life are reflected in Benathea’s loss of confidence in an independent future for black people. She asserts that nationalism is a lost cause which can only lead to the swapping of white masters for black. Walter finally proves himself to be a man in Lena’s eyes by telling the white man where to go with his money and the family prepare to move into their new home. The play ends leaving the audience aware that many of their troubles as a black family in 1950s America have only just begun.
The title for the play is taken from a poem by Langston Hughes:
What happens to a dream deferred?
Does it dry up like a raisin in the sun?
Or fester like a sore – And then run?
Does it stink like rotten meat?
Or crust and sugar over – like a syrupy sweet?
Maybe it just sags Like a heavy load.
Or does it explode?
All the emotions expressed in the poem are there in the play, in this production, directed by Dawn Walton, and electrically so. All the political ideas of identity, racism, gender roles and social consciousness are brought refreshingly within the sphere of working-class life.
• The play is on tour around Britain ending in Coventry on 28 March.
I know that the great Alan Rickman deserves to be remembered as the superb serious actor he was:
H/t Ruth Cashman
… but I can’t resist him as the pantomime villain, and as far as I’m concerned it’s no disrespect at all to remember him as a wonderful, OTT ham
Also, by all accounts, a good guy (an active member of the Labour Party and supporter of many worthy causes).
RIP Alan Rickman.
Guardian obit here
This time of year when we think of time passing.
Enter CHRONOS, with a scythe in his hand, and a great globe on his back, which he sets down at his entrance
Weary, weary of my weight,
Let me, let me drop my freight,
And leave the world behind.
I could not bear
The load of human-kind.
From Dryden’s The Secular Masque
Written for the seventeenth century rolling over to the eighteenth. It has the New Year resolution flavour about it at the end:-
All, all of a piece throughout;
Thy chase had a beast in view;
Thy wars brought nothing about;
Thy lovers were all untrue.
‘Tis well an old age is out,
And time to begin a new.
The Three Ages of Man by Titian in the National Gallery of Scotland
A poem which fits the weather as well as the time of year and one of my favourites by Thomas Hardy, who wrote beautifully about time passing and opportunities missed:-
They sing their dearest songs—
He, she, all of them—yea,
Treble and tenor and bass,
And one to play;
With the candles mooning each face. . . .
Ah, no; the years O!
How the sick leaves reel down in throngs!
And brightest things that are theirs. . . .
Ah, no; the years, the years;
Down their carved names the rain-drop ploughs.
Time, time, time
See what’s become of me
While I looked around for my possibilities
I was so hard to please
But look around Leaves are brown
And the sky is a hazy shade of winter..
Look around, leaves are brown,
There’s a patch of snow on the ground
(Simon & Garfunkel – they were young things when that came out)
Who knows where the time goes? Sandy Denny, who died far too young.
And from he who was born middle-aged:-
Chard Whitlow by ”T S Eliot”
As we get older we do not get any younger.
Seasons return, and today I am fifty-five,
And this time last year I was fifty-four,
And this time next year I shall be sixty-two.
And I cannot say I should like (to speak for myself)
To see my time over again— if you can call it time:
Fidgeting uneasily under a draughty stair,
Or counting sleepless nights in the crowded Tube.
From The Hobbit – one of the riddles
This thing all things devours:
Birds, beasts, trees, flowers;
Gnaws iron, bites steel;
Grinds hard stones to meal;
Slays king, ruins town,
And beats high mountain down.
And a picture from the 1976 Soviet edition of The Hobbit.
Have a good time while we mark time passing.
Orwell originally wanted to be a poet and did keep writing verse.
A Dressed Man is a neat, sharp piece.
His Memories of the Blitz is new to me. As the editor of his poems, Dione Venables says of his poetry in general, “It has its moments.” The Blitz has not figured much in poetry though it is prevalent in films and novels. I can recall some lines of Louis MacNeice’s:-
As sometimes in the blackout and the raids
One joke composed an island in the night.
World War I, a war fought by most able-bodied men, not just professional soldiers, produced many poets. But as for the civilian experience of the World War II, many writers – like C S Lewis (Home Guard) and T S Eliot (fire watcher) took part without turning their experience into verse.
Memories of the Blitz
Not for pursuit of knowledge
Only the chances of war,
Led me to study the music,
Of the male and female snore
That night in the public shelter
With seats no pillow could soften,
Where I fled, driven out of my bed,
By bombs too near and too often.
And oh, the drone of the planes,
And the answering boom of the gun,
And the cups of tea in the dawn,
When the flames out-did the sun.
That was a long time ago,
Three years ago, or nearly,
And more has perished than gas-masks,
I could not tell you clearly,
What there can be to regret,
In a time of casual slaughter,
When the windows were empty of glass,
And pavements running with water.
But the guns have changed their tune,
And the sandbags are three years older,
Snow has kissed the flesh,
From the bones of the German soldier.
The blimp has a patch on its nose,
The railings have gone to the smelter,
Only the ghost and the cat,
Sleep in the Anderson shelter.
For the song that the sirens sang,
Is sunk to a twice-told story,
And the house where the chartered accountant,
Perished in headland glory,
Is only a clump of willow-herb,
Where I share my sorrow
With the deserted bath-tub
And the bigamous sparrow.
That has some very good lines, especially:-
In a time of casual slaughter,
When the windows were empty of glass,
And pavements running with water.
With the abstract “casual slaughter” against the particularities of the blown out windows and the broken water mains.
Also these relics of an urban war with a high civilian death count:-
The blimp has a patch on its nose,
The railings have gone to the smelter,
Only the ghost and the cat,
Sleep in the Anderson shelter.
Which is evocative, like those grey concrete pillboxes you still find on the coast, sunk into sand. Three years ago “a long time ago” for Orwell who of course did not have much time left himself.
The other day a boy of eleven told me the that his class had been to see an Anderson shelter in someone’s garden. It was very damp and mossy, he said.
George Orwell in the Home Guard
William McIlvanney 25 Nov 1936 – 5 Dec 2015: writer, thinker, poet of ‘Tartan noir.’
Laidlaw sat at his desk, feeling a bleakness that wasn’t unfamiliar to him. Intermittently, he found himself doing penance for being him. When the mood seeped into him, nothing mattered. He could think of no imaginable success, no way of life, no dream of wishes fulfilled that would satisfy.
Last night and this morning hadn’t helped. He had finally left Bob Lilley and the rest still on the surveillance in Dumfries. On the strength of solid information, they had followed the car from Glasgow. By a very devious route it has taken them to Dumfries. AS far as he knew, that was where it was still parked — in the waste lot beside the pub. Nothing has happened. Instead of catching them in the act of breaking in, three hours of picking your nose. He has left them to it and come back to the office, gloom sweet gloom.
It was strange how this recurring feeling had always been a part of him. Even when he was a child, it had been present in its own childish form. He remembered nights when the terror of darkness had driven him through to his parents’ room. He must have run for miles on that bed. It wouldn’t have surprised him if his mother had had to get the sheets re-soled. Then it had been bats and bears, wolves running round the wallpaper. The spiders were the worst, big, hairy swines, with more legs than a chorus-line.
Now the monsters were simultaneously less exotic and less avoidable. He was drinking too much — not for pleasure, just sipping it systematically, like low proof hemlock. His marriage was a maze nobody had ever mapped, an infinity of habit and hurt and betrayal down which he and Edna had wanered separately, meeting occasionally in the children. He was a policeman, a Detective Inspector, and more and more he wondered how that had happened. And he was nearly forty.
* Guardian appreciation here
H/t Ms Stroppy and Comrade Coatesy:
Which is which? Picture Getty Images/Metro
Alan Johnson MP has sent the following to London Labour Party members in support of Tessa’s (“she only needs a first name!”) bid to win the Party’s nomination for Mayoral candidate:
It starts with a look,
Then a double take,
Then a smile,
A moment to work up the confidence and then they come over.
Tessa cannot leave the house,
without meeting new people,
who want to say hello.
I have seen this a hundred times,
and believe me it’s not normal –
no other politician inspires such warmth.
Tessa is a star.
She is Labour’s Kylie – everyone,
and she only needs a first name.
She has a remarkable way,
that generates real affection.
But that’s not,
why I’m backing her to be Mayor.
I backed Tessa,
right from the start,
the right values to make London,
a fairer place to live.
Through Sure Start,
and the Olympics,
she has a record,
that is second,
to none, and I know she can beat the Tories.
And today, I’m more sure,
But it’s not just because the opinion polls show she’s the only candidate who can beat the Tories,
– though they do and by,
a country mile.
It’s because she has set out a genuinely compelling vision.
One London – where everyone can share in the city’s success.
I’ve just heard the news of the death of Robert Conquest, historian, entertaining right-winger, debunker of liberal pro-Stalinist mythology, and master limerikician. I shall write more, in due course, about Conquest’s politics and his role as a historian. But, for now, let’s just enjoy his limericks …
… all of which brings me on to the true limerick – lewd, obscene and offensive – and the widely-acknowledged master of the genre, Robert Conquest. To the best of my knowledge, Conquest’s limericks have never been published in a proper collected edition, though several have appeared in his friend Kingsley Amis’s Memoirs and Collected Letters.
Here are some of the best:
A usage that’s seldom got right
Is when to say shit and when shite,
And many a chap
Will fall back on crap,
Which is vulgar, evasive, and trite.
Seven Ages: first puking and mewling
Then very pissed-off with your schooling
Then fucks, and then fights
Next judging chaps’ rights
Then sitting in slippers: then drooling.
There was a young fellow called Shit,
A name he disliked quite a bit,
So he changed it to Shite,
A step in the right
Direction, one has to admit.
That snobbish surrealist, Garsall,
Once did himself up in a parcel;
He addressed it ‘Lord Garsall,
The Keep, Garsall Castle’
And mailed it first-class up his arsehole.
There was old Scot named McTavish
Who went for an anthropoid ravish
But the object of rape was the wrong sex of ape
So the anthropoid ravished McTavish
Possibly my favourite, entitled AT THE ZOO:
There was plenty of good-natured chaff
When I popped in to fuck the giraffe,
And the PRZS
Could hardly suppress
A dry professorial laugh.
Kingsley Amis wrote a follow-up:
When I came back to roger the gnu
I was scarcely delayed coming through,
and the staff – most polite –
cried, “please stay overnight”,
it’s a priviledge granted to few.
Yevgeniy Zhuravel interviews Kirill Medvedev (above), a Moscow-based poet, translator, and activist. He is the founder of the Arkady Kots band.
YZ: Can you tell a bit about yourself and how did you became a leftist? It seems that in Russia till recently it was not a common political choice.
KM: I became a self-conscious leftist at the beginning of the 2000s. There is a rather typical scenario for that generation of the Russian left, which emerged mostly from the Soviet intelligentsia of different levels of prosperity. Many of us were still able to spend our childhood under still rather comfortable conditions, so we were able to absorb the humanistic code of the Soviet intelligentsia, and then suddenly found ourselves in the historical hole of the 90s, when this code turned out to be not only redundant, but simply made survival difficult. Some of our parents had believed that shock therapy and total privatisation are the necessary stages on the way to democracy, others voted for the failed Communist Party, and some became quickly disappointed and depoliticised. The new left emerged from this trauma, but not out of a desire for revanche, but with the feeling that both nostalgia for Soviet times and jolly anti-Sovietism, which brought most of the intelligentsia to support Putin, are dead ends; that if one wants to be a citizen and a political subject, some hard work is required in order to build a new political culture and environment. Sometime during 2003-2004, I started getting an idea that maybe this thankless job—being part of the left—is not the worst way to spend the next decade or two.
YZ: The band that you are a part of is called Arkadiy Kots, after the Russian translator of “The Internationale”. Who are the people in the band, why this particular name was chosen and what musical and political traditions do you follow?
KM: The name seemed to be appropriate because Kots was simultaneously a poet, a translator, an activist and a sociologist; he wrote a study on the Belgian unions from the beginning of the 20th century. Such synthesis is interesting to us. Oleg Zhuravlev, with whom we founded the group, is a well-known young sociologist, member of the “Public Sociology Lab” collective, which does research on the recent protests in Russia and Ukraine. They just published a book in Russia, which will be released in Holland soon. Nikolay Oleynikov is a member of the renowned art-group “What has to be done?”(Chto Delat?). His work is related to antifascism and gender problems. In fact, in the Free Marxist Press, we published his collection “Sex of the Oppressed”, the discussions of sex and politics. If Oleg brings to the group the spirit of research, Nikolaj the spirit of militant queer carnival. Anya Petrovich and Misha Griboedov are more professionally connected to music: they are practically the musical directors of the group, fighting, for example, with my horrible unprofessionalism. Gosha Komarov, an activist of the Worker’s Platforms, which unites the most workerist (proletarian) part of the left radicals, is a multi-instrumentalist. This is the backbone of the group, we are all convinced communists, but, as it happens, we occasionally end up playing with people who do not share our views, which gives us some openness and a chance not to turn into a sect.
We translate a lot to Russian – from Woody Guthrie and Pete Seeger to old Italian anarchist songs. We write songs based on poems of Russian poets and write our own: “Be Involved in Political Struggle”, “It is not shameful to be a worker” etc., which hide uneasy reflections about our own political subjectivity.
Overall we try to juxtapose maximised aesthetic openness with a clear political message, to get out of the boundaries of the radical left, subcultural milieu. Right now we are working on an album devoted to the history of the worker’s movements, from Luddites to Zhanaozen, with a support of Confederation of Labour of Russia, whose congress we recently opened with our Russian versions of songs “Bread and Roses” and “Power in a Union”, and gave a concert after the end of it.
YZ:You started the Free Marxist Press publishing house back in 2008. How did it evolve? What did you print recently and what are the plans?
KM: It all had started with samizdat (DIY?) books – “Why I am a Marxist?” by Ernest Mandel, Pasolini’s “Communist Party – to the Youth”, “Marxism and Feminism” by Marcuse etc. Later on we started making small press runs at print shops. Producing a book from A to Z—translation, formatting, cover design, printing, binding, distribution – for me personally was an important experience, though a little bit exotic, mixing the spirit of completely unalienated creative work a la William Morris, on the one hand, and the productionism of the 20s, on the other. Being engaged in the material production of a book one gets into a very special relationships with a text which it contains. Read the rest of this entry »
My good friend Ricky Ricardi, archivist of the Louis Armstrong House Museum in Queens, NYC, commemorates the 65th anniversary of Louis’ recording of ‘La Vie En Rose’ (from Ricky’s blog ‘The Wonderful World Of Louis Armstrong’):
65 Years of “La Vie En Rose”
Louis Armstrong with Sy Oliver’s Orchestra
Recorded June 26, 1950
Track Time 3: 26
Written by Mack David, Edith Piaf and Louiguy (Louis Gugliemi)
Recorded in New York City
Louis Armstrong, trumpet, vocal; Melvin Solomon, Bernie Privin, Paul Webster, trumpet; Morton Bullman, trombone; Hymie Schertzer, Milt Yaner, alto saxophone; Art Drelinger, Bill Holcombe, tenor saxohpne; Earl Hines, piano; Everett Barksdale, guitar; George Duvivier, bass; Johnny Blowers, drums; Sy Oliver, arranger, conductor
Originally released on Decca 37113
Currently available on CD: It’s on “Satchmo Serenades” and about a thousand compilations.
Available on Itunes? Yes.
65 years ago today, Louis Armstrong tapped into his French side by recording two songs he’d perform for the rest of his career: “La Vie En Rose” and “C’est Si Bon.” What follows is a slightly updated version of my original 2010 posting on “La Vie En Rose” and I’ll be back in a few days with a fresh look at “C’est Si Bon.” Enjoy!
For the last couple of decades, “What a Wonderful World” easily wins the title of the most ubiquitous Louis Armstrong recording, being used in a countless amount of films, television commercials and high school reports (just check YouTube). But “La Vie En Rose” is definitely a close second. According to Imdb.com, it’s been used in at least eight major motion pictures since 1994, most notably in the Pixar classic “Wall-E,” as well as television shows, commercials, you name it. And anyone who has spent three minutes and 26 seconds in its presence can easily understand the phenomenon. You’d have to have the heart of the Tin Man (pre-Oz) to not be moved by it.
Of course, the song truly belongs to Edith Piaf, the legendary French singer who co-wrote it and made it famous to the point where a documentary and a feature film about her life each bear the title “La Vie En Rose.” Piaf apparently wrote the song in 1946 and sat on it for a while before she finally gave it a go in public, where it was received tremendously. In 1948, she sang her original French lyrics on a recording that was picked up in the United States by George Avakian of Columbia Records. I’ll let George tell the story, as he eloquently did in the liner notes to an Armstrong boxed set on the Hip-O label, “An American Original”:
“That same year, Edith Piaf took New York by storm an me by surprise. I was doubling as International and Pop Album director at Columbia in those days, and when Piaf’s manager told me she was coming back to New York despite a cool reception the first time ’round, I asked our Paris affiliate to send me samples of her interim releases so that I could try to choose something which might appeal to the American public. I recognized one melody as ‘You’re Too Dangerous, Cheire,’ a failed pop tune I had liked a couple of years earlier. The label said ‘La Vie En Rose,’ and the impassioned French lyric was far superior to wishy-washy English words I knew. We gave it a shot and to everyone’s astonishment but ‘Ay-deet’s,’ it sold a million copies.”
For those who aren’t familiar with it, hear’s Piaf’s original French version, courtesy of YouTube:
As of today, multiple YouTube versions have amassed over 20 million views, a testament to the lasting power of Piaf and that song in particular. But who is in second place? Ol’ Pops with just over 19 million views himself. As Avakian added, “Of the countless cover versions that followed, Louis’ was easily the best, and he never stopped singing it.” Read the rest of this entry »