Monday, 21 December 2009
Christmas Logistics
Okay, a really short one today. It's Christmas, a time of year that always takes me by surprise because I forget that the world closes for four days in nine. The 24th is a half-day and the shops are emptying out, the 25th and 26th are closed and then the days between that and the 30th are on half-speed, with the 31st another half-day and the 1st a Bank Holiday. Only the British could decide to have a two week semi-vacation in the depth of winter - a sensible nation would do it in, oh, July. Except the sun rarely shines in July these days. I've taken the week off to use up my holidays for the year, but it doesn't feel as restful as the other weeks do, because I have all these logistics about food to cope with. Basically Wednesday is the last day we can get food before Sunday. And don't hold out too much hope that the supermarkets will have a decent stock of anything on Sunday. Monday I'm back at work but half the cafes and sandwich bars in the West End will be shut. Now I think of it, I've been doing just-in-time inventory for food way before the car industry. And Christmas plays havoc with it. Easter is just as closed, but the crowds aren't as desperate. That's what really puts me off: the sheer desperation on everyone's faces as they rush round the shops, stocking up on stuff to have a "good time". I intend watching a few choice DVD's and trying to finish Enjoy Your Symptoms.
Friday, 18 December 2009
Sophie's Choice and Striking Cabin Staff
I'm reading my way through Zizek's Enjoy Your Symptoms and in one essay he discusses William Styron's Sophie's Choice. Sophie (aka Meryl Streep before she discovered her true calling as a comedienne) was in a German prison camp. A guard tells her she has to choose one of her two sons to be saved, or both will be killed. She chooses one and the other dies. This induces so much maddening guilt that well after the war she chooses a relationship with a struggling painter and the two of them commit suicide. Zizek takes the whole thing very seriously, and why not? It was a successful movie and Styron was one of the great mid-century Writer-Drunks.
It's a crock, of course. First, on the safe assumption that the sons are equally worthy of being saved, Sophie is not making a choice, she's flipping a coin. Choice needs reasons, and the story doesn't work if there are reasons for preferring one son over the other. If there are no reasons, there is no choice, there is only picking. It isn't Sophie's choice at all, and nor is it Sophie's choice. It was the guard's. He woke up that morning and decided to give Sophie this chance. He might not have.
A more appropriate reaction is not guilt, but thanks. Remember, Sophie was going to lose both sons until given this chance. A better reaction might be anger at having to lose even one son and at being in the situation where the only reason she didn't lose both was the arbitrary power of the guard. But that would be a tad political. It doesn't give us a set-up for hundreds of pages of emotional indulgence and a slow descent into a kind of madness.
No guilt, no story - no story at least that a drunk could write. So for reasons internal to the needs of his story Styron has to hide whose choice it really was. But we go along with it. We go along with it because as readers of a story we are willing to be lead where the story-teller wants us to go, but also because we accept that those in or wielding power are not to be called to account for their actions. They do what they do because they can. We do not have the right to demand explanations or to pass judgement: only those with power can do that.
When the British Airways cabin staff were lead to a twelve-day strike, the story was about them and Unite. It was not about a management who pay people a basic £13,500 a year and expect them to live near Heathrow or Gatwick. An expectation that is so unrealistic given the rents and costs of houses in those areas that it tells you just how arrogant the management of BA are. The management are not seen as contributing to the strike by paying a wage too small to cover rent and council tax, let alone food and heating. The actions of the powerful in this story are as invisible as the moral choices of the guard in Sophie's Choice. How on earth did this happen? How did the powerful get to be invisible? Because it's easier for the victim to blame themselves and treat the actions of the powerful as like the weather, than it is to blame the powerful and so be lead to the need for political action.
It's a crock, of course. First, on the safe assumption that the sons are equally worthy of being saved, Sophie is not making a choice, she's flipping a coin. Choice needs reasons, and the story doesn't work if there are reasons for preferring one son over the other. If there are no reasons, there is no choice, there is only picking. It isn't Sophie's choice at all, and nor is it Sophie's choice. It was the guard's. He woke up that morning and decided to give Sophie this chance. He might not have.
A more appropriate reaction is not guilt, but thanks. Remember, Sophie was going to lose both sons until given this chance. A better reaction might be anger at having to lose even one son and at being in the situation where the only reason she didn't lose both was the arbitrary power of the guard. But that would be a tad political. It doesn't give us a set-up for hundreds of pages of emotional indulgence and a slow descent into a kind of madness.
No guilt, no story - no story at least that a drunk could write. So for reasons internal to the needs of his story Styron has to hide whose choice it really was. But we go along with it. We go along with it because as readers of a story we are willing to be lead where the story-teller wants us to go, but also because we accept that those in or wielding power are not to be called to account for their actions. They do what they do because they can. We do not have the right to demand explanations or to pass judgement: only those with power can do that.
When the British Airways cabin staff were lead to a twelve-day strike, the story was about them and Unite. It was not about a management who pay people a basic £13,500 a year and expect them to live near Heathrow or Gatwick. An expectation that is so unrealistic given the rents and costs of houses in those areas that it tells you just how arrogant the management of BA are. The management are not seen as contributing to the strike by paying a wage too small to cover rent and council tax, let alone food and heating. The actions of the powerful in this story are as invisible as the moral choices of the guard in Sophie's Choice. How on earth did this happen? How did the powerful get to be invisible? Because it's easier for the victim to blame themselves and treat the actions of the powerful as like the weather, than it is to blame the powerful and so be lead to the need for political action.
Wednesday, 16 December 2009
Boy Meets Girl
One evening long ago when I was an attractive young man, I was having a picnic in St James's Park one summer evening with a young lady who was working as an M.P.'s researcher. We had one of those unresolved, will-we-won't-we, do-we-don't-we relationships that had been going on for a few years. At some stage she mentioned YABF (Yet Another Boyfriend) and I decided that the answer was NO, we weren't going to. It was at this point that I lost interest in our story. Not in her as a person, or in that evening – we were almost-flirting almost out of habit – but in our story. Boy Meets Girl is the most interesting story we human beings know, but that interest ends the moment we know that they are going to go their separate ways home with no residual regrets, desires or fantasies. Boy Meets Girl gets its potency because it's about possibility, about what might happen, and, which is what makes it unique, how long it might happen for. Boy Meets Girl doesn't end with the wedding, or the kids or even the divorce. As long as there is some reason they might meet again, something still between them, the story remains. It only ends when they walk away from each other with nothing to suggest that they must meet each other again.
Monday, 14 December 2009
I Can't Live Without... La Torre
Pret a Manger is all very well for a fast sandwich, but there is no substitute for a good Sandwich Bar. You can have the La Torre special (beef, blue cheese, mushrooms on ciabatta toasted) or you can make it up from the ingredients you see through the counter. They have pasta and chicken curry, beef curry, meat balls with spaghetti or baked potato or salad or however you want it. As often as not, I get a fairly routine chicken escalope with salad to take away - being on a minimum-carb diet thing.
The real treat is to drop in first thing if I had to leave the house too quickly. Egg-and-bacon toasted on brown, cappucino. The ultimate filling breakfast. Eat at the counter in the window and watch the world hurry to work, the morning swimmers from The Oasis stop for a cup of coffee.
Good food is the strating point, it's the atmosphere that makes the place special. It needs an energetic owner who recognises his regulars, the right kind of lighting and decoration, enough of the smell of cooking to be welcoming and just enough background from the radio in the morning and conversations at lunchtime. La Torre has all of them. It's at 32 Endell Street in Covent Garden and well worth a visit.
The real treat is to drop in first thing if I had to leave the house too quickly. Egg-and-bacon toasted on brown, cappucino. The ultimate filling breakfast. Eat at the counter in the window and watch the world hurry to work, the morning swimmers from The Oasis stop for a cup of coffee.
Good food is the strating point, it's the atmosphere that makes the place special. It needs an energetic owner who recognises his regulars, the right kind of lighting and decoration, enough of the smell of cooking to be welcoming and just enough background from the radio in the morning and conversations at lunchtime. La Torre has all of them. It's at 32 Endell Street in Covent Garden and well worth a visit.
Friday, 11 December 2009
Read The Manual
Most things now, from your mobile phone through Excel and on to cooking, are way too complicated to be understood from A to Z in one lesson. There are subtleties about the use of a paintbrush or a screwdriver that only craftsmen know. Quick: why should a frying pan be heavier rather than lighter?
The more you know you can do, the more you will do. The more you know about your tools and materials, the more you can get out of them and the easier your life will be. But you have to read the books. Why? well, spreadsheet software has been with us now for over twenty-five years and some of the smartest people alive have worked on developing Excel, Calc and the others. You're going to learn everything it can do in a five-day course and a Dummies manual? I don't think so. And that's just one of the applications you're using.
A good manual can be a straightforward how-to: Haynes car manuals and O'Reilly software books are terrific examples. The Dummies books are good as well if you can live with the style. Sometimes "the manual" is a love-it-or-hate-it book that makes you think – hate McKee's Story or like it, but you will never think the same way about writing after you're read it. At the other extreme is something as gnomic as The Art of War: that is a manual, but you've got to interpret it. A J Ayer's Language, Truth and Logic is a clearly written and vivid manual - of how to apply Logical Positivism - and it made him famous. Categories for the Working Mathematician is a manual, and good luck.
A genuine manual does not promise to make you rich, tell you secrets, solve all your problems or otherwise change your life. Those are fakes, designed not to inform, but to mislead you into thinking that all it takes is a good idea and some trick of character. You're quite right to ask why if it works, the authors aren't millionaires as well.
The brain is a "use it or lose it" device: learning new stuff grows new neurons. You will learn stuff to do your job more easily and the other applicants didn’t. Read the manual.
The more you know you can do, the more you will do. The more you know about your tools and materials, the more you can get out of them and the easier your life will be. But you have to read the books. Why? well, spreadsheet software has been with us now for over twenty-five years and some of the smartest people alive have worked on developing Excel, Calc and the others. You're going to learn everything it can do in a five-day course and a Dummies manual? I don't think so. And that's just one of the applications you're using.
A good manual can be a straightforward how-to: Haynes car manuals and O'Reilly software books are terrific examples. The Dummies books are good as well if you can live with the style. Sometimes "the manual" is a love-it-or-hate-it book that makes you think – hate McKee's Story or like it, but you will never think the same way about writing after you're read it. At the other extreme is something as gnomic as The Art of War: that is a manual, but you've got to interpret it. A J Ayer's Language, Truth and Logic is a clearly written and vivid manual - of how to apply Logical Positivism - and it made him famous. Categories for the Working Mathematician is a manual, and good luck.
A genuine manual does not promise to make you rich, tell you secrets, solve all your problems or otherwise change your life. Those are fakes, designed not to inform, but to mislead you into thinking that all it takes is a good idea and some trick of character. You're quite right to ask why if it works, the authors aren't millionaires as well.
The brain is a "use it or lose it" device: learning new stuff grows new neurons. You will learn stuff to do your job more easily and the other applicants didn’t. Read the manual.
Wednesday, 9 December 2009
The John Lewis Redhead
Today is utter trivia. There is something about tall, slim red-heads that cuts right through all my defences and makes me want to be... well, whatever it takes to be their husband or lover. Redheads are one of Nature's secrets: think carefully, you've never seen an ugly redhead. Ever. They are rarely shatteringly glamorous or sultry as brunettes and blondes can be, but they are always attractive and sexy. Well, John Lewis' agency Adam & Eve found a fine example and put her right at the end of their “Sweet Child of Mine” Christmas ad, and she's the best thing about Christmas so far.
I wish I could find a larger picture. I take one look at her and know that this is someone to whom nothing bad has ever happened nor will it ever happen. She's a one-woman oasis of calm, serenity and understated sensuality. In my dreams. And maybe in her life.
I wish I could find a larger picture. I take one look at her and know that this is someone to whom nothing bad has ever happened nor will it ever happen. She's a one-woman oasis of calm, serenity and understated sensuality. In my dreams. And maybe in her life.
Monday, 7 December 2009
Examined Life - The Movie
I saw Examined Life recently: it's a film of interviews with a bunch of big-name philosophers: Cornel West, Avital Ronell, Peter Singer, Kwame Anthony Appiah, Martha Nussbaum, Michael Hardt, Slavoj Zizek, Judith Butler and Sunaura Taylor.
Cornel West rapped away, interesting right up to the point where he mentioned 'white supremacy' and lost me. Are people still going on about that? Haven't they realised that it's only some white men who have the power and the rest of us are as screwed as everyone else? Appiah made sense at the time but nothing stuck. Singer is... Singer. Avital Ronnell made very little sense but sounded the part – that's what translating Derrida and studying with Kristeva will do to you. Michael Hardt rowed round Central Park, as he admitted that the idea of “going to the mountains, forming an armed cell and starting a revolution” was totally outside his experience. I got the idea he wanted some kind of revolution, but not what or how. It vanished into the mists of his syntax. Judith Butler takes a walk with the painter and activist Sunaura Taylor through the graffiti walls of San Francisco and they buy a sweater at a thrift shop. They talked about what it meant for someone in a wheelchair to “take a walk” and made the usual kinds of remarks about gender and disability being social constructions. Nussbaum mentioned capabilities and how she agreed with Aristotle that the aim of a society should be to allow each of its members to develop their abilities. I couldn't help thinking that she's a very handsome woman – but then I'm shallow like that. Zizek was huge fun, wandering around a rubbish tip, suggesting amongst a hundred other things that Nature is a series of catastrophes and not a beautiful system in fragile balance threatened by your breathing too hard. At one point he picks up a scrap from a porn mag and shakes his head “oh no, you call this porn?” suggesting a robust knowledge of the real stuff. The ICA audience laughed out loud. Of all of them, he's the best value for money.
The selection is not representative of modern philosophy, it's representative of the best-sellers of modern American philosophy. All of these people - except Nussbaum - are influenced by the French superstars: Barthes, Baudrillard, Lacan, Derrida, Kristeva, Foucault. They're all more Hegelian than Popperian, more inclined to using words at the edge of their meaning rather than using a plain-speaking style. None are technical philosophers: epistemologists, philosophers of science or mathematics, metaphysicians or logicians. But then perhaps those guys don't examine life, only knowledge and its relatives.
The philosophy section in Foyles is packed with the French superstars and their backing bands and influences. There are few of the British Analytical Philosophers I grew up with (though Gilbert Ryle must have had a birthday or something because there's a chunk of his stuff). These people are the current thing. But then Peter Strawson was a star once and while I don't wish to speak ill of the recently departed, his signature work Individuals was one of the more unreadable and pointless uses of the human mind until the minor String Theorists got going.
Props, however, to Astra Taylor for making the movie. She looks to be the next Brian Magee, a sensitive and informed populariser of philosophy, and we've been overdue one of those for a while. I found I "got" some of them the better for having seen them: having seen Judith Butler, her performative theory of gender makes a lot more sense (even if it still doesn't quite work at more than the hand-waving stage).
Cornel West rapped away, interesting right up to the point where he mentioned 'white supremacy' and lost me. Are people still going on about that? Haven't they realised that it's only some white men who have the power and the rest of us are as screwed as everyone else? Appiah made sense at the time but nothing stuck. Singer is... Singer. Avital Ronnell made very little sense but sounded the part – that's what translating Derrida and studying with Kristeva will do to you. Michael Hardt rowed round Central Park, as he admitted that the idea of “going to the mountains, forming an armed cell and starting a revolution” was totally outside his experience. I got the idea he wanted some kind of revolution, but not what or how. It vanished into the mists of his syntax. Judith Butler takes a walk with the painter and activist Sunaura Taylor through the graffiti walls of San Francisco and they buy a sweater at a thrift shop. They talked about what it meant for someone in a wheelchair to “take a walk” and made the usual kinds of remarks about gender and disability being social constructions. Nussbaum mentioned capabilities and how she agreed with Aristotle that the aim of a society should be to allow each of its members to develop their abilities. I couldn't help thinking that she's a very handsome woman – but then I'm shallow like that. Zizek was huge fun, wandering around a rubbish tip, suggesting amongst a hundred other things that Nature is a series of catastrophes and not a beautiful system in fragile balance threatened by your breathing too hard. At one point he picks up a scrap from a porn mag and shakes his head “oh no, you call this porn?” suggesting a robust knowledge of the real stuff. The ICA audience laughed out loud. Of all of them, he's the best value for money.
The selection is not representative of modern philosophy, it's representative of the best-sellers of modern American philosophy. All of these people - except Nussbaum - are influenced by the French superstars: Barthes, Baudrillard, Lacan, Derrida, Kristeva, Foucault. They're all more Hegelian than Popperian, more inclined to using words at the edge of their meaning rather than using a plain-speaking style. None are technical philosophers: epistemologists, philosophers of science or mathematics, metaphysicians or logicians. But then perhaps those guys don't examine life, only knowledge and its relatives.
The philosophy section in Foyles is packed with the French superstars and their backing bands and influences. There are few of the British Analytical Philosophers I grew up with (though Gilbert Ryle must have had a birthday or something because there's a chunk of his stuff). These people are the current thing. But then Peter Strawson was a star once and while I don't wish to speak ill of the recently departed, his signature work Individuals was one of the more unreadable and pointless uses of the human mind until the minor String Theorists got going.
Props, however, to Astra Taylor for making the movie. She looks to be the next Brian Magee, a sensitive and informed populariser of philosophy, and we've been overdue one of those for a while. I found I "got" some of them the better for having seen them: having seen Judith Butler, her performative theory of gender makes a lot more sense (even if it still doesn't quite work at more than the hand-waving stage).
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