Horror movies right there on my TV…

Too much Cory Bernadi perhaps…

So here I am recuperating from casting my say in the Postal Survey.

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Actually, I was reading an ebook: Gone With the Wind in fact.

Last night I felt a bit gone with the wind myself as I watched Classic Countdown on ABC. It was very good. Lots of uninterrupted acts.

But was it all really over 40 years ago? And did I look like this back then?

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Re-reading Lawrence 55 years on

Using my Calibre reader on HP Junior I am rereading Sons and Lovers, having first read it in 1962. It holds up well. But how little of it did I really understand at the age of 18 in 1962?

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Hard to believe it was first published over a century ago! See Blake Morrison, Sons and Lovers: a century on.

Sons and Lovers is a great novel. A century of readers have reached for the same adjective. FR Leavis did, when he enrolled Lawrence in the “great tradition” of the English novel, comprising Jane Austen, George Eliot, Henry James and Joseph Conrad. And Philip Larkin did so, too, describing Lawrence as “England’s greatest novelist” and Sons and Lovers as his finest achievement: “Cock me! Nearly every page of it is absolutely perfect.” The perfection wasn’t apparent to those close to Lawrence at the time, including his childhood sweetheart Jessie Chambers, his editor Garnett, and his wife-to-be Frieda, all of whom suggested improvements and left their mark on the finished text. But the reviews were good, and 100 years later the novel’s reputation holds up, despite the recent dip in Lawrence’s critical standing.

To anyone of my generation, that dip is a puzzle…

Poem of the day: W H Auden

Now what makes me think again of this poem, which has haunted me ever since I first read it at Sydney University when I was 16?

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SEPTEMBER 1, 1939

by W.H. Auden

 

I sit in one of the dives
On Fifty-second Street
Uncertain and afraid
As the clever hopes expire
Of a low dishonest decade:
Waves of anger and fear
Circulate over the bright
And darkened lands of the earth,
Obsessing our private lives;
The unmentionable odour of death
Offends the September night.

Accurate scholarship can
Unearth the whole offence
From Luther until now
That has driven a culture mad,
Find what occurred at Linz,
What huge imago made
A psychopathic god:
I and the public know
What all schoolchildren learn,
Those to whom evil is done
Do evil in return.

Exiled Thucydides knew
All that a speech can say
About Democracy,
And what dictators do,
The elderly rubbish they talk
To an apathetic grave;
Analysed all in his book,
The enlightenment driven away,
The habit-forming pain,
Mismanagement and grief:
We must suffer them all again

Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse:
But who can live for long
In an euphoric dream;
Out of the mirror they stare,
Imperialism’s face
And the international wrong.

Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play,
All the conventions conspire
To make this fort assume
The furniture of home;
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night
Who have never been happy or good.

The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.

From the conservative dark
Into the ethical life
The dense commuters come,
Repeating their morning vow;
‘I will be true to the wife,
I’ll concentrate more on my work,’
And helpless governors wake
To resume their compulsory game:
Who can release them now,
Who can reach the dead,
Who can speak for the dumb?

All I have is a voice
To undo the folded lie,
The romantic lie in the brain
Of the sensual man-in-the-street
And the lie of Authority
Whose buildings grope the sky:
There is no such thing as the State
And no one exists alone;
Hunger allows no choice
To the citizen or the police;
We must love one another or die.

Defenseless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.

Jonathan Littell’s Nazi Oresteia

Wikipedia notes:

The Kindly Ones (French: Les Bienveillantes) is a historical fiction novel written in French by American-born author Jonathan Littell. The book is narrated by its fictional protagonist Maximilien Aue, a former SS officer of French and German ancestry who helped to carry out the Holocaust and was present during several major events of World War II.

The 983-page book became a bestseller in France and was widely discussed in newspapers, magazines, academic journals, books and seminars. It was also awarded two of the most prestigious French literary awards, the Grand Prix du roman de l’Académie françaiseand the Prix Goncourt in 2006, and has been translated into several languages.

I borrowed The Kindly Ones from Wollongong Library on Wednesday and am now well into it. I am finding it horrific but fascinating. Littell, born in New York, is a bi-lingual (English / French) writer living in Barcelona. He is a dual citizen of the United States and France and is of Jewish background.  One reviewer on Goodreads wrote: “This is a hard book to review. It is like walking out of a David Lynch movie and feeling brain raped by the artist. How exactly to you attempt to explore the depths of Nazi Germany without feeling dark, abused, and sick afterwards?” I note there also that more recently Littell has written Syrian Notebooks: Inside the Homs Uprising. One reader says:

Must read, must read, everything’s a must read these days. But this is a ‘must read’ that it seems like nobody has read. To his credit, Littell mostly contains his righteous anger on that account, in the prologue and epilogue he added in 2012, when it was already too late. Now it’s even later than too late, and Assadist propaganda has thoroughly overtaken the discourse, leaving firsthand accounts such as this and those of revolutionaries and refugees for all intents and purposes useless…

So divided are readers! On Goodreads reviews of The Kindly Ones range from five stars to one! I am rather of the 4-5 star persuasion. See also opinions gathered at this dedicated blog, a review by Andrew Hussey, Professor of French and Comparative Literature at the University of London Institute in Paris, another by David Gates in the New York Times, and another by historian Samuel Moyn in The Nation.

 Jonathan Littell’s novel The Kindly Ones took France by storm in the fall of 2006, when it won the Prix Goncourt–the nation’s most prestigious literary prize–and sold many hundreds of thousands of copies. Commercial success fed the heat of scandal, which followed the book to Germany in 2008, vaulting it to the top of the bestseller list. The furor revolved around nothing less than the governing conceit of Littell’s thousand-page roman-fleuve: the novel pretends to be the memoir of a Nazi SS officer who witnessed the different stages of the Holocaust as it was being perpetrated. The dispute over the book was another round in the cycle of Holocaust controversies that have marked time since the end of World War II with the regularity of a metronome. Tempestuous quarrels may have raised public consciousness about the Holocaust; but even so, subsequent battles over its representation can feel no less unseemly. “Silence over the murder, scandal over the books,” George Steiner worried in response to one of the first such imbroglios, forty years before Littell’s intentionally sickening but unquestionably brilliant success.

Finally, from HaaretzThe Executioner’s Song.

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Littell smiled. The discussion that ensued, in which Littell spoke in French – he does not speak German – was held with a panel of two historians and a researcher of anti-Semitism. Littell rejected comparisons with Dostoevsky or Joyce. He shrugged his shoulders at questions about why his book concentrates so heavily on sex and homosexual fantasies, choosing to speak instead about historical theories and the work of Holocaust scholars. Clearly, Littell does not like to have interpretations foisted on his book or to talk about the personal motives that led him to write it over the course of a Moscow winter, by hand, in a single draft.

George Hubert Wilkins (1888-1958)

ABC News Breakfast this morning featured an interview with Jeff Maynard, author of The Unseen Anzac (2015) — certainly one to look for in the Library.

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See The Saturday Paper:

George Hubert Wilkins (1888-1958) – polar explorer, air-racing pilot, cinematographer, war photographer, showman, mystic and fabulist – lived more than enough lives for an ordinary mortal. Showered in honours (he was awarded the Military Cross and knighted in 1928), Wilkins is “largely responsible” for taking and documenting Australia’s official collection of World War I photographs. Although Maynard tells the story of Wilkins’ childhood and his years as a polar explorer both before and after the war (Wilkins accompanied Shackleton on his final expedition to Antarctica in 1921), the bulk of the biography is devoted to Wilkins’ time on the Western Front. Charles Bean’s determination to document the Australian experience of war led to Wilkins and Frank Hurley being appointed as official war photographers in August 1917. While Hurley quickly became frustrated with the restrictions placed on his work and soon left for Palestine, Wilkins remained.

He should have died several times. A fearless “wielder of the mechanism”, he was determined to capture images of the fighting. Wounded frequently, he accompanied the soldiers into the front line, sometimes going ahead of them. He refused to carry a gun, and as Bean acknowledged, continually showed “disregard of personal danger” and was probably “in the fighting more constantly than any other officer in the corps”.

Maynard, who began his research in 1998, has scoured the globe in search of archival material, even speaking to the owner of the unassuming hotel in Massachusetts where Wilkins died in 1958. He has tracked down wads of previously unseen correspondence and authenticated 178 photographs in the Australian War Memorial’s collection as having been taken by Wilkins. His understated, well-honed biography reveals the maverick, eternally restless Wilkins as a man who refused to define his life through war alone.

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That’s Wilkins on the right.