Friday Fave: Possession, by A. S. Byatt

possession

“Vocabularies are crossing circles and loops. We are defined by the lines we choose to cross or to be confined by.”

A.S. Byatt’s Possession is a perfect treasure-box of a novel. I keep a shelf of books in my room of those works that have changed my life, changed how I look at the world: Possession is one that I take with me when I travel, like a literary comfort blanket. Dark Hour of Noon was the first of those; unless I count Jane Yolen’s Sister Light, Sister Dark and Sheila Finch’s The Garden of the Shaped for introducing me to fantasy and sci-fi, Possession was second, and possibly the most significant. I had always known I wanted to study English at university–what else does a person do when reading is as important a part of her life as eating and breathing?–but when I finished Possession I knew I wanted to make a career in the literary world beyond being a writer, be it as an academic, in publishing, book-binding, something. It also instilled in me a life-long habit of hunting through second-hand bookshops looking for lost treasures.

I discovered the novel via one of the Year’s Best Fantasy and Horror yearbooks with the gorgeous Thomas Canty covers, among the list of novels worth reading at the back. I’ve always found this a bit odd, even at my first reading; it is not a fantasy novel, although it does incorporate a few short fable-like stories and a lot of discussion of mythology on the part of the main characters. I looked for it at my local bookshop because I liked the title, and because it had won the Booker Prize; I didn’t know what the Booker Prize was (I was fourteen, and had only a hazy idea of what the Internet was at that point), but it sounded interesting. When I found it, I fell in love with the cover alone, and it remains one of the most perfect choices in terms of using a preexisting painting to illustrate a book, in my estimation.

I had been reading adult novels for years at this point and by no means did this end my love of sci-fi and fantasy (or comic books, which I had also discovered a few months before), but this changed my taste; I stopped reading the small, cheaply bound paperbacks, quickly coming to the conclusion that most literary fiction worth reading came in the larger-sized paperbacks with better quality paper and fancier covers. I discovered The English Patient and E. M. Forster shortly afterwards, and remained convinced well into my twenties that being published by Vintage was almost a guarantee that a novel was good. I continue to hope that someone will make a mini-series out of it–the film version with Gwyneth Paltrow was a good film, but was pretty loose in its telling of the story, and a great deal had to be cut out. A version starring Ben Whishaw and Romola Garai and directed by Suzanne Bier would probably be close to perfect, although I know this will never happen.

The intersections of the two parallel stories told in Possession have so many layers to them that in over twenty years of re-reading this novel it’s never become “predictable”–I know the story, but can’t memorize the intricate turns of the narrative because each reading highlights some different aspect, or in the months since my previous reading I’ll have learned something new that reveals a different significance to some scene or reference which I never noticed before. It is an investigation of all the different meanings the concept of possession can have, from the physical to the legal to the paranormal. It is a mildly satirical portrait of academia, and the impact of feminist theory on traditional literary criticism; it is an explication of what feminism and feminist theory represents, and why it is necessary; it is a literary detective story; it is an homage to the mythology and its influence on culture and the imagination; it is an exploration of the different ways sexuality shapes our lives and the consequences of denying it–personally and culturally. It is two (literally and figuratively) related love stories, one Victorian and one contemporary, one doomed and one founded on hope. At its core, it is itself a love letter to art and literature, to how a work of art is born as an expression of one’s own identity and goes on to shape the identities of others. It is one of the greatest novels of the twentieth century, and if you haven’t read it already, you’re missing out.

“An odd phrase, ‘by heart,’…as though poems were stored in the bloodstream.”

 

Now Playing: The Cure, “Lovecats”

The Cure have done plenty of grim and dark songs, to be sure, but I’ve always found that they’re at their best when they’re performing really quite sweet love songs in their signature bizarre way. Plus this one has kittens in the video. I tried to find a better-quality upload of the video, but most of it’s there, and kittens. Lots of kittens.

Friday Fave: Thandie Newton

Image result for thandie newton westworld

I had been planning on watching Westworld in the way I’ve planned on watching most of the new shows that HBO and Showtime have rolled out over the last three years or so–just barely remembering to set the DVR, not paying attention to who the leads are until the opening credits. I know the shows will feature compelling visuals and fine acting; I also have faith that they almost invariably feature strong writing. (Although season two of True Detective severely tested that faith. Severely.) I never question if these shows will be good; it is always a matter of whether the story will appeal to me. Even with the shows that I like, though, I tend to be lackadaisical about getting around to watching them; I only have an hour or two a day to pay attention to a TV show on weekdays, and I find that they often benefit from being watched in longer chunks than an hour at a time, so I save them up for weekends when I do the ironing.

Shows that I like so much that I simply lack the patience to save up several episodes for a mini-marathon are increasingly rare–there was The Killing, the first couple of seasons of Downton Abbey, Borgen, season 1 of Rogue, last year’s Deustchland 83, and now Westworld. I read a few conflicting reviews, one focused on Evan Rachel Wood and another, more critical, claiming that the show “starts off with a bang but then falls down a rabbit hole of Lost-style strangeness.” I disagree particularly with this last, as much as I usually like Vox’s reviews–my impression was the show’s writers and producers know exactly what they want it to be, there is one central mystery of which all the “disconnected” mysteries are threads, and if the rest of the season measures up to this first episode it will be a fine and particularly creepy exploration of our fear of AI. Just because it’s subtle doesn’t mean it’s a mess–there is no bad here, as far as episode 1 goes.

And there is this cast, this amazing how-did-they-cram-so-many-awesome-people-into-one-show cast. Jeffrey Wright, Anthony Hopkins, Ed Harris, Sidse Babette Knudsen, Evan Rachel Wood, Jimmi Simpson, Ben Barnes, and most of all Thandie Newton, who was the heart of the aforementioned Rogue until she left it and it was ruined.

I’ve loved Thandie Newton’s work since I saw Flirting on TV one afternoon, years and years ago. It was one of my favourite films for a long time, until I read about the director John Duigan’s abusive relationship with her; I haven’t been able to watch it since. In some cases I can separate what is on screen from what happened off-screen, but this is not one of them.

Fortunately there is a wealth of other excellent work Newton has done since, in addition to being an outspoken women’s rights activist and having, from all indications, an enviable family life. She’s never fallen into the trap of being typecast, doing comedy, drama, and action–she’s as adept at costume drama as she is at being a total badass, on screen and off. This will serve especially well in her role in Westworld, which, if the hints in episode one pan out, will be far more complex than simply an android sex worker. I find it a bit frustrating that all the articles I’ve read on the series thus far have been either breathless or cross in discussing the presentation of sex in the show (and most of them refusing to acknowledge that there is a difference between portraying sexual violence with the aim of highlighting its negative effects and doing so gratuitously), but only a few have mentioned the questioning of the nature of free will that the show explores, and none at all have even touched on the matters of consciousness and identity that made this first episode so compelling to me. I’m thrilled that Newton has a new role as promising as Grace in Rogue was, and I look forward to seeing where she takes Maeve.

Further reading on some of the activism Newton is involved with, and her own blog:

One Billion Rising

V-Day

TED Talk: Embracing Otherness, Embracing Myself

ThandieKay

 

Now Playing: Last Nite, by The Strokes

Sleep has been something of a challenge for me over the last few months. I often find it difficult to fall asleep, and I wake up at least once most nights. Last night was one of those lovely rare occasions where I fell asleep quickly and wasn’t having nightmares or back pain. Then some horrible person phoned me at a quarter to two wanting to know had I just phoned her. I hadn’t; thoroughly annoyed, it took me the better part of an hour to get back to sleep.

Less sleep means rough mornings for me, and today all I wanted to do while taking care of the morning’s chores was to listen to something loud and cheerful. I played through several music videos before finding one that made me feel a bit better: the Strokes. My favourite song of theirs is actually ‘Soma’, which got me through the first few months of being desperately ill with UC and anemia, but those same associations make it rather hard for me to listen to now. This song has altogether better memories associated with it–dancing in my friends’ underground kitchen in Queen’s Gardens and doing the polka home with fellow graduate students from the pub to our hall of residence a couple hundred feet away. Back when staying up half the night wasn’t painful and I wasn’t allergic to caffeine. I do miss those nights.

Friday Fave: Marley Dias

Stretching out on a pile of books this large was one of my childhood fantasies. Unfortunately I didn’t own this many until I was in my late teens, by which time it was less appealing as a physical activity.

Marley Dias is one of my heroes. Her story started spreading over the Internet at the beginning of this year, when she founded the #1000blackgirlbooks movement. I loved books every bit this much when I was eleven; I had approximately 0% of her social awareness, discipline, or self-confidence. Over twenty-five years later, I have some of her social awareness and a tiny bit of her discipline, maybe a little more self-confidence than I started with, but I’m still lagging waaay behind. I still 100% hate being in front of a camera. Forget just being a role model for kids; a lot of grown-ups could learn a thing or two from her.

In addition to her ongoing book campaign,–she has hit her target, but why quit when you’re ahead?–and BAM, a related project/website she runs with her friends Briana and Amina, the magazine Elle recently invited her to edit a special edition ‘zine called Marley Mag. (I’m not entirely sure how a ‘zine is different from a magazine; is this a new thing, or just shorthand for the same thing we pick up next to the grocery-store check-out?) She is self-possessed when meeting the likes of Oprah and Ellen, and not a little photogenic; that she finds time to do all this and still attend school on a regular basis–and still read books–amazes me. I get a little tired just thinking about how much energy that must take.
I’d put money on her becoming the Lin-Manuel Miranda or Misty Copeland of the publishing world by the time she’s 30 20, at the rate she’s going.

I might have mentioned a time or twenty that I’m an avid reader; I also work in the publishing industry, and am a writer myself. I hear and read a great deal about how literacy is dying, people aren’t learning handwriting any more, everyone’s reading e-books and computers instead of printed books, and thus not absorbing as much of what they read. Insofar as that is true–and I agree that it is, at least in part, although all the dire warnings from the 1980s that by the year 2000 only a fraction of the population might be able to read proved wildly overstated, and I suspect that the predictions of the extinction of the printed page will prove similarly exaggerated–it is on us to keep that from happening. There are severe problems with the educational system, to be sure, and they do need fixing, but no one is going to enjoy reading if they only do it in the schoolroom and then in the workplace. Bemoaning the loss of literacy and writing skills makes no sense when as a nation we take such brief notice of people like Marley and other kids with similar, if less revolutionary, aims, such as Blake AnsariTyler Fugett, Evan Feldberg-Bannatyne, and Kirstin Shipp. I love that someone this young, with a bit of star quality and a ton of ambition, has made the celebration of reading and a demand for greater diversity in literature her mission in life. This is how we can save our literary culture. More power to her, and all those who have decided to emulate her.

Now Playing: We Are Young, by Fun.

There are several images and phrases this election regularly brings to my mind, on a weekly if not a daily basis. One of my preferred images is the bar fight in the video for Fun.’s We Are Young; at least they look like they’re having a good time in between slinging stuffed animals at each other and breaking things. Also, I’m fascinated by Nate Ruess because he looks precisely like I always imagined Tom Sawyer would look like as a real person (well, the adult version thereof). I find myself pulling up this video often these days when politics-related fretting starts to get too much. The song also features Janelle Monae, one of my personal heroes, who is always worth watching–more on her later.

Friday Fave: Cheese Chasers

Cheese has always been a serious matter in my household. My father is in general one of those people unwilling to spend more than absolutely necessary on what he needs; if I’m buying a packet of cocoa powder, or a cut of meat, or a new phone, he has always found it necessary to query why I’m buying this or that particular brand or style, and inform me (usually more than once) that I would have spent less if I’d bought said thing somewhere else, or a different brand’s version. There are, however, a few things he does not compromise on: marmalade, bread, and cheese. Never once has he argued with me over the price of a loaf of bread, and anything labeled as “cheese food” or “spray cheese” is not allowed in the house. We bought Velveeta once to make nachos, but it was pronounced a failure. I do remember a brief period from my childhood when we had Kraft slices at home, possibly because I had begged for them–I have absolutely no memories of taking them to school for lunch, but I think we used them for cheese toast–but when Cabot cheese appeared in our local supermarket, that was the end of individually wrapped, plasticky cheese. I also remember my mother describing how someone had told her that she cooked macaroni and cheese for dinner at least once a week, because it was so tasty and saved her money, and wondering how it could possibly save her money when a block of cheese for the dish cost so much; I’m not sure my mother had ever realized, at least at that point, that a box of macaroni and cheese mix included powdered stuff that resembled cheese sauce when prepared.

As long as there has been high-quality cheese available in our local supermarkets, preferably imported from the UK or France or Italy, there has always been a block of cheddar in our refrigerator. It is often accompanied by a piece of brie or camembert, and more recently, Danish blue. I’d make a great many more trips to the Whole Foods cheese counter if my income allowed. (When I lived in Edinburgh there was J. Mellis Cheesmongers, one of the nicest cheese shops ever. Mellis has six locations in Scotland; I’ve lived within a five-minute walk of three of them, at various times. Of the many, many things I miss about Scotland, this is one of them. If Atlanta has anything comparable, I haven’t found it yet.) Costco has been, if not a life-saver, at least a great boon in this regard.

Image result for cheese slices tv show

One of the perks of frequently housesitting for friends is getting to watch the cable stations that my own provider doesn’t carry. A few years ago I was channel surfing and came across a show called Cheese Slices, or Cheese Chasers. (It seems to have different names depending on where it’s aired.) It’s a half hour program devoted entirely to cheese, and honestly, given how much people love cheese (it’s as addictive as a drug, apparently, did you know?) I don’t know why no one thought of this years ago. Each episode is devoted to a different region of the world known for producing a specific variety of cheese, and the host, Will Studd, goes to different commercial and home-grown businesses that produce the cheese. They discuss each variety’s history, the milk it’s made from–often accompanied by shots of the herds kept to produce said milk–the legal restrictions it’s subject to, and usually a meal or two that features the cheese. I find it fascinating, and endlessly irritating that it’s only available in broken-up segments on YouTube–I’d happily buy the series on dvd if it was available; episodes are available for purchase on his website, but I don’t know what the cost is per show. I suspect it’s more than I’m willing to pay, at least for now. There are clips available on YouTube, if you hunt for them–look for Will Studd, because if you just do a search for “Cheese Chasers” you get a lot of clips of a classic cartoon episode by the same name. If you happen to have a cable service provided that carries the otherwise ridiculous Wealth TV (now labeling itself A Wealth of Entertainment), keep an eye out for it.

Studd himself is an evangelist for unpasteurized milk and dairy products, which I don’t entirely agree with. I do think it’s silly to prohibit the sale of unpasteurized cheeses, because they do have a flavor that can’t be achieved with pasteurized milk, and can be delicious; I don’t know of anywhere that prohibits the making and consumption of sushi, as long as any such sale is accompanied by the obligatory warning about the possibility of becoming sick from eating uncooked fish. On the other hand, the law on the sale of unpasteurized milk exists for a good reason, as grotesquely and effectively illustrated in an early episode of Boardwalk Empire. People can easily see the difference between uncooked and cooked fish, chicken, and meat; pasteurized and unpasteurized milk, and the cheese made therefrom, isn’t similarly distinguishable at a glance.

But back to the cheese. Each episode finishes off with a meal–many of them are simple picnics, pairing the cheeses with local meats and wines, and some require specific pans that I don’t have access to, or techniques I haven’t mastered (I *will* make a proper frittata one day. I will), but there was one recipe that I am going to try just as soon as I find the right sort of cheese. I wish I could link to the original clip, or give credit to the family who seems to have thought of this (unless it’s a traditional local dish that I just haven’t been able to guess the name of, I did try searching by ingredients), and the next time I get a chance to see the episode I will (it’s in episode 6 of season 1, I think), but until then, try this, it looks delicious.

You will need a bowl at least 3 inches or so deep and a saucepan large enough to fit the bowl easily inside. A steamer insert would also be handy, but isn’t necessary. Fill the saucepan an inch deep with water and bring the boil. While the water is heating, crumble or shred a few slices of Lancashire cheese and sprinkle them in a ring around the edge of the bowl. Crack an egg into the center of the cheese ring. (Amounts of cheese and egg can be increased according to how many people are sharing the dish.) Cut a fresh Roma or other small tomato or two into thin slices and arrange them over the cheese in a ring. Set the bowl carefully into the pan of boiling water–use an oven glove or a dishtowel to avoid burning yourself. (This is where the steamer basket is a handy thing, if you have one.) Cover the saucepan with its lid and allow to steam for five minutes–more time may be necessary if you’ve got more than one egg. Remove the bowl carefully from the pan, again being careful not to burn yourself. Serve with a loaf of crusty bread, toasted or fresh. Spoon the melted cheese and poached egg onto the bread as you eat. Comfort food at its finest, and great for a cool autumn or winter morning.

A Note on Heathcliff and Wuthering Heights

 

I discovered Cassandra Clare’s The Infernal Devices trilogy last year and fell head over heels for the steampunk London she created and the characters inhabiting it, so much so that I barely cared about the anachronisms and inconsistencies in details of the story that are supposed to be realistic–something that usually strikes me like nails on the proverbial chalkboard.

One detail of the story really did bother me, though, and it isn’t something Clare alone is guilty of. When the heroine, Tessa, is falling for the boy of her decidedly literary dreams, she envisions him more than once as Heathcliff, from Emily Bronte’s Wuthering Heights.

When and how did Heathcliff get turned into a figure of romance and desire?

Wuthering Heights is a phenomenal novel, one of my personal favourites and one of the greats of English literature. If you haven’t read it, do, it’s amazing. The thing is, it’s not a romantic, bittersweet love story. It’s a story about a boy who is tormented by his adopted family who grows up into a violent, bitter sociopath. Heathcliff is not a nice man, and he is not written that way. I am endlessly confused as to where this idea that he belongs among the ranks of Mr. Darcy and Pip from Great Expectations came from; why it persists is less of a mystery, but it’s still frustrating.

It must have happened before the 1970s, for Heath Ledger’s parents to name him and his sister after Heathcliff and Cathy. Was the soppy 1939 film version responsible? Are people reading the Cliffs Notes version and skipping the actual book? I would love to start a conversation about this, because it isn’t the sort of thing one can find an answer to in any volume of criticism on Emily Bronte, and unless I know where to read for the answers I want I’ll be trailing around in the dark for who knows how long. If you have any insights, please please please feel free to leave a comment.

(P.S. if you’re looking for a more faithful adaptation of the story, the 1992 version with Ralph Fiennes and Juliet Binoche and the 2011 version by Andrea Arnold are both excellent, although Arnold’s only covers part of the story. I love Tom Hardy and all, but the 2009 version was a disappointment–particularly because he would have made a brilliant Heathcliff if the script had been better. )

Friday Fave: Christine and the Queens

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Pop music that isn’t sung in English rarely gets much of a listen among U.S. audiences. once in a while a song, usually associated with an insanely popular film, that includes a verse–or a phrase or two–in a second language will be really popular, but for the most part it’s English all the way. I wonder at times if French pop is met with particularly studied rejection after the brief rage for Jordy’s “Dur Dur D’Etre Bebe” back in 1992 (apologies to all who had successfully blocked that memory. I think I remember buying the single when it came out, but mostly I remember a few instances of singing the lyrics along with a few classmates to torture our French teacher, who was remarkably patient and good-natured but hated the song. It does grate on the nerves after about 10 seconds.)

Dur Dur D’Etre Bebe (and the somewhat alarming image of family life portrayed in its video) aside, the general distaste for foreign pop and rock music is a pity on many scores. I’ve always found it particularly odd when a singer or a group makes the charts in several other countries, or all over the world, and remains virtually unknown in the U.S. As with so many things–particularly football/soccer–this feels like a sort of willful denial on our part, and a bit immature. As though we are covering our ears, scrunching up our faces and muttering “unh-uh” while a the rest of the world holds out a glass of good champagne and a plate of chocolate truffles to us, insisting that we’ll like it if we only give it a chance.

I stopped paying attention to music television and radio when I was finishing high school, save for a brief spell in 2001 when my otherwise tight-fisted landlord gave us free cable television for six months (so he could hike the rent on the next tenants) and there were a couple of music stations that still played music videos. Since then, I’ve relied on reviews, word of mouth, and television shows to hear new stuff. The Daily Show and Stephen Colbert have proved particularly useful in this regard–they don’t have musical guests on all that often, but those they do have are usually acts I find worth listening to. Or, in case of The National, find myself a week later trying to buy up their complete back catalogue.

The only other act from TDS I’ve really fallen for is Christine and the Queens, otherwise known as Héloïse Letissier offstage. She was one of Trevor Noah’s first few musical guests, if not the first, and I think I enjoyed Noah’s complete loss for words at how to respond to her performance as I did the music itself. She and her dancers/band are one of the few rock/pop acts that make live music an actual performance, not by adding a lightshow and other special effects, but by making dance and a number of cultural references an integral part of the show along with the singing. She also uses every song she sings to question and break down gender and sexual normativity, which a lot of people still find threatening; as I watched Trevor Noah’s brief interview with her, I wondered if he had bothered to listen to any of her music before the show.

I didn’t rush to iTunes for the album immediately, but when I did get to it a few weeks later I wished I had. I played it pretty much non-stop for a month, and it was one of the things that got me through last December without losing my mind. She has a lovely voice, and does 80s-style synth-pop better than they did in the 80s. (Granted, she probably has better equipment than was available 25-30 years ago.) She does sing in French, but she re-recorded the album for international release with some of the lyrics translated into English. It sounds like an odd proposition, and I’m sure in some cases it would produced questionable results, but she makes it work beautifully.

She seems to be making waves everywhere but here, which is a pity; we’re missing out. Of course the language barrier isn’t the only obstacle to her popularity over here–we may be making strides in terms of breaking down prejudice against the cishet status quo, but there’s a ways to go yet. Letissier just isn’t interested in waiting, or diluting her style to make it more palatable for the general population: she does what makes her happy. I’m sure it would make a great many more people here happy too, if they had a listen.

Further reading and listening:

https://www.theguardian.com/music/2016/jan/07/christine-and-the-queens-soho-drag-club-to-french-superstardom-heloise-letissier

http://www.huffingtonpost.com/entry/christine-and-the-queens_us_5765a79ce4b0853f8bf11ee8

http://www.bing.com/videos/search?q=Christine+and+the+QUeens&&view=detail&mid=E8E9A1DF1C08D4CE4F7AE8E9A1DF1C08D4CE4F7A&FORM=VRDGAR