The patron saint of procrastinators

A single blog post by one person I admire greatly, John Crowley, about another, Coleridge, has brought back in a rush all the haphazard things I love about the latter (and it turns out I’ve written briefly about them both before here). Crowley quotes some of this passage:

You have not above 300 volumes to write before you come to it— & as you write perhaps a volume once in ten years, you have ample Time, my dear Fellow!— Never be ashamed of scheming — you can’t think of living less than 4000 years, & that would nearly suffice for your present schemes—/To Be sure, if they go on in the same Ratio to the Performance, there is a small difficulty arises/but never mind! look at the bright side always— & die in a Dream!

The “dear fellow” he is talking to is of course himself, mocking his own tendency to scribble endless ideas for books and other projects in his notebooks – something I can relate to dearly.

Here’s another quote from the same year, 1804, collected in Anima Poetae:

This evening, and indeed all this day, I ought to have been reading and filling the margins of Malthus. I had begun and found it pleasant. Why did I neglect it? Because I ought not to have done this. The same applies to the reading and writing of letters, essays, etc. Surely this is well worth a serious analysis, that, by understanding, I may attempt to heal it. For it is a deep and wide disease in my moral nature, at once elm- and-oak-rooted. Is it love of liberty, of spontaneity, or what? These all express, but do not explain, the fact… From infancy up to manhood, under parents, schoolmasters, inspectors, etc., our pleasures and pleasant self-chosen pursuits (self-chosen because pleasant, and not originally pleasant because self-chosen) have been forcibly interrupted, and dull, unintelligible rudiments or painful tasks imposed upon us instead. Now all duty is felt as a command…

A time will come when passiveness will attain the dignity of worthy activity, when men shall be as proud within themselves of having remained in a state of deep tranquil emotion, whether in reading or in hearing or in looking, as they now are in having figured away for an hour…

His defensive stance on being allowed to dream is the tip maybe of an iceberg of agonies about his lack of output – but he still managed to outcreate most people, and much as some (far from all!) of his poetry is fantastic, I think it’s his prose which should be his lasting monument. He almost created a genre by himself – fragmentary reflections, allusions, digressions (all of which were what attracted him to Borges).

Some day I’d like to collect his thoughts of this kind into a ‘defence of dreaming’… But I probably won’t. And maybe that’s the point.

The warp (stop all the clocks)

has already broken the news (and spoilered my anecdote!), but I’m going to drone at you anyway…

The world won’t be the same without Ken Campbell’s drawling of the words ‘glossolalia’, ‘Neville Plashwit’ and ‘gastromancy’, and walking his dogs on the Walthamstow marshes.

Permit me to trot out a personal memory: and I were chatting to Ken (for it is he) in the bar before a show a few years ago and I speculated whether any of the material was the same as in the last show of his I’d seen. He replied in his remarkable nasal way: “As Newton said about Jesus, he was made of different stuff.”

As he said it, he was pathetically counting out dozens of pennies to see if he had enough for a drink, so I stepped in and got him one. It was, beloved readers, a coke. Ned Sherrin and Alan Coren never told stories like this, eh?

I can still remember some of Macbeth in Vanuatu pidgin thanks to Ken, and that’s a life skill to treasure – though remembers more than I do.

Actually, I’ve also stalked him along Green Lanes with another friend, but that’s another story.

I guess we’ll never get the History of Comedy Part Two now. Sniff.

Maybe if I keep working on my already prodigious eyebrows I can do the tribute act some day.

The music of the warming spheres

So, when I was coaxed out of the house last night, little did I know I’d end up discussing Borat with climate change guru Mark Lynas in a village pub.

It was after a talk he gave in the same village hall (Ramsden) where I went to a previous talk on climate change (which I wrote about here and here). Lynas is an excellent speaker and very accomplished at effortlessly marshalling bucketloads of data, as well as fielding complex questions without pause. He provides an admirably sane view of the whole issue, very much from the perspective of a scientist rather than a campaigner. My only worry is that he is over-optimistic about human psychology, ie a reliance on co-operation between nations (though I don’t really doubt that his solutions are at least possible). To me the issue smacks heavily of the prisoner’s dilemma, and the evidence from studies of that doesn’t suggest co-operation is a likely strategy for people in a world where fighting habitually takes precedence over common sense.

He’s also an entertainingly sarcastic sod, and it was fun talking with him. (I’ve only just discovered he was two years below me at Edinburgh, too). My lingering memory of the evening – other than the talk itself – is of the crazy, beer-filled notion of turning his book Six Degrees (a documentary version is being broadcast by National Geographic next week) into a musical. I can’t help thinking about it. It’s horrible, but it could almost work. Mark, get your people to talk to my people. Or, better, get them to sing.

Epi phenomena – do doo de do do

So, I’ve finally finished Hofstadter’s I am a Strange Loop. I is a strange loop. I am a strange loop.

This is something of an achievement for me as it’s the first time I’ve actually read all of one of his books – I’ve read most of Gödel Escher Bach, Metamagical Themas and Le Ton Beau de Marot, but never quite all of ’em. Anyway, that’s enough italics for now.

It’s a funny sort of book – essentially it rehashes the core argument of GEB, and forms a defence of epiphenomenalism, which is not exactly a new position nowadays (and GEB itself was written in the late 70s). It’s as much an ‘intellectual autobiography’ as anything, bringing in many personal tales, particularly the death of his wife, albeit with a big and slightly confusing chunk in the middle about Gödel’s revolutionary overturning of Bertrand Russell’s endeavours to bolster the foundations of mathematics. DRH makes the same points over and over again, sometimes superfluously: that we work at the abstract level of patterns and defining physical phenomena in terms of tiny little particles is no hope in our quest to understand ourselves – but that ‘we’ emerge from those nonetheless; and that consciousness is a ‘strange loop’ of self-reference inevitable when a pattern-obsessed organism has a sufficiently broad range of categories identifiable by it.

Although this is far from as dazzling a book as GEB, and is really an oldish man now saying ‘yes, but you weren’t listening the first time’, the way he tells things – anecdotes, analogies, allegories – is what makes him so much more interesting than most ‘philosophers’. (Though next time the publishers really ought to stop him thinking he can design the book as well – the pictures in here are pretty bad.)

Let’s hope he doesn’t get interviewed by Jim Naughtie, though, who was bumbling his way through whether a restored Cutty Sark is still the real one this morning…

Stripped of charm

Genealogy is always a double-edged sword. Within minutes of being entertained to find that one set of my great-great-great-grandparents ran a canalside pub in Middlesex… I discovered that it’s now a strip joint next to an industrial estate.

Clare as mud

Last year I observed that I don’t often read the same author one book after another – the exception was Iain Sinclair (see here and here). He’s the exception again. Hot on the heels of Edge of the Orison I’ve felt compelled to read Rodinsky’s Room (co-written with Rachel Lichtenstein).

The first follows John Clare’s ‘journey out of Essex’ – ie his fugue from an asylum at High Beach in 1841, walking penniless, driven by lost (and unregainable) love, the 80 miles to his village north of Peterborough. I can’t remember feeling so inspired and gripped by a book in recent times, such that I’ve fixed anyone who’ll listen (or won’t) with an ancient mariner’s stare and proceeded to prate about it. Sinclair’s form, for me at least, gets ever better with each new non-fiction book he writes – while his fiction (though I probably will tackle Dining on Stones when I have the stomach) gets more unwieldy and unfathomable.

The Clare book is self-indulgent at times, especially with a fruitless quest revolving around his wife’s genealogy, but I loved it throughout nonetheless – the usual blend of coruscating sideswipes at modern blandness, fused with elegiac tones and swathed in his psychogeographic obsession with making connections: Sinclair is the real Dirk Gently.

I’m still in media res with the Rodinsky book – more on that some time soon.

I was there

A trip to the Design Museum, for the splendid You Are Here exhibition. A festival for geekish poring. Along with the inevitable Tube map delights, highlights for me included:
– Adrian Frutiger’s Symbols and Signs – Explorations foldout chart
– The works of Richard Saul Wurman, Otto Neurath (hurrah! my old chum Basic English) and Annegrete Moelhave
– John Adams’ 1679 map of road distances between UK towns and villages
– Joseph Priestley’s invention of “charts of biography”
– the unlabelled maps comparing metro networks across the world

Much Googling to be done, frankly, and much else of interest besides, but:
(a) no catalogue!!
(b) as J pointed out, er, didn’t the design of the exhibition (not to mention the dreadful Design Museum website as H has already observed) somewhat let down the premise. A major missed opportunity, given that the structure of the exhibition itself was so blurred.

I also discovered the works of Edward Tufte, which I shall be tracking down, especially his essay about PowerPoint being the death of reason, a long-cherished philosophy of mine.

Yes yes, I kneau that

On Friday, I finally got to see The Life and Death of Peter Sellers.

If you don’t know, I’m a Peter Sellers nut, and probably have about 15 of his films on video or DVD (plenty more to go…), plus lots of audio. I openly acknowledge that (a) a huge percentage of his output, or his directors’ output perhaps, was dreck (b) he was a complete shit of a person. But.

In many ways it’s a good film, though by no means a great one. Good things, of course, include a very plucky performance by Geoffrey Rush, and a great supporting cast, and some game quirks such as the bits where various people in Sellers’ life transmute into Rush (an attempt to capture the spirit of all those films where Sellers, and Alec Guinness (his hero) before him, played numerous roles) and talk to camera. But.

Rush frequently captures the mannerisms of Sellers well, and if you squint, you can see the man. He also has a good pop at some silly voices, but at heart I think he’s the wrong man for this job (who the right man is, I don’t know, or modesty forbids ho ho). His normal voice, for one thing, is far too deep and growly – Sellers had a very hard voice to capture, and distinctive largely for its nondescript quality (with an affected twang of the d?racin?), in the same way that the ‘ordinary’ voice of someone like Rory Bremner is, well, ordinary. I could never quite let go of it being Rush, alas (plus no amount of prosthesis can disguise Rush’s glaciated face).

And the mugging to camera – why? If you’re going to have an element like that in your film, surely the point is to ‘stylise’ the subject’s life in some way, with some ‘theory’ to interpret their behaviour. No such theory was ever offered, really, even in the relationship with his mother Peg, which was only sketched with the broadest brush. Sellers’ family music hall background was ignored.

It seems the whole aim of this film (it must have been secretly backed by bitter Blake Edwards) was simply to say ‘Peter Sellers was a complete shit’. It’s absolutely true that he treated everyone in his life badly in one way or another, but the film never attempts to engage in any depth with why this might be, and the idea of him as a ‘child-man’ is nodded at without any sense of making it a real way to think of him. As ever, the real Peter Sellers remains elusive.

What saddens me most, really, is that for all its accuracy in biography and the extreme and appalling moments of selfishness in his life, the film fails to capture the positive side of him at all. It showed audiences smiling happily at his performances, but failed to make its own audience smile as they could have done. There is no sense in which this film is a celebration of Sellers’ remarkable talent.

So, er, anyway. I think it *is* a good film, but clearly created in a spirit of loathing for its subject. Contrast Man in the Moon, another biopic of an intensely irritating, selfish and demanding comedian, which nevertheless makes you go away with sympathy and a smile.

But for general readers, the entertainment lay in the fact that the sound went two-thirds of the way through watching it, in Oxford’s remarkable Ultimate Picture Palace, closely followed by the picture, leaving 12 people (count ’em) looking around the auditorium, at each other, and at glimpses of a white haired old gent in the projection room, somewhat baffled. The owner of the cinema has completely disappeared. I took the opportunity to annoy H with a couple of public Clouseau gags, and shone my bike light up at the projection room. Eventually the owner appeared and the film was rewound to the wrong place, then back to the right place for us to watch loads of it again, and eventually we got to see all of it, if not quite in the order intended. Marvellous.

Ghosts

I’m three-quarters of the way through John Crowley’s Aegypt, kindly lent by DM after literally years of trying to find a copy. I was lukewarm to start with but now am more and more enthralled by its quiet subtlety. I particularly approve of the way so far it has reconciled a magical realist viewpoint with a secular materialism (not to mention all the stuff about my old chums John Dee and Giordano Bruno). As do many things, it reminds me of my favourite quote from Coleridge who, when asked if he believed in ghosts, replied ‘No madam, I have seen far too many myself.”

Manifesto

The Old Man’s Road

Across the Great Schism, through our whole landscape
Ignoring God’s vicar and God’s ape

Under their noses, unsuspected
The Old Man’s road runs where it did.

When a light subsoil, a simple ore
Where still in vogue true to his wherefore

By stiles, gates, hedgegaps it goes
Over ploughlands, woodlands, cow meadows

Past shrines to a cosmological myth
No heretic today would be caught dead with

Near hilltop rings that were so safe then
Now easily scaled by small children

Shepherds use bits in the high mountains
Hamlets use stretches for lovers’ lanes

then through cities threads its odd way
Now with gutters, a thieves’ ally

Now with green lamp-posts and white curb
The smart crescent of a high toned suburb

Giving wide berth to a new cathedral
Running smack through a new town hall

Unlookable for by logic or by guess
Yet some strike it and are struck fearless

No like can know it, but no life
that sticks to this course can be made captive

And those that know it are not stopped
at borders by some theocrat.

WH Auden