Thursday, August 28, 2014

Cats and guns and MK Dons

Meanwhile, it’s still August, and reality is in retreat. We learn that Hello Kitty is not a cat (she’s actually a 40-something woman who lives in the Home Counties); China tries to calm down its fractious minorities with a cartoon concubine; the strange tale of the Japanese oddball who joined ISIS; the newsroom at The Times is alive with the sound of typewriters; and, hot on the heels of a 9-year-old girl killing her shooting instructor with an uzi, an audio technician on the TV show Cops is killed by, uh, cops. And Manchester United getting beaten by a team that, as far as I’m concerned, doesn’t really exist. And Kate Bush. Oh, and this:

PS: And this, by Jopsy, via Valerie:

PPS: The New Yorker responds to the Kitty bombshell.

Monday, August 25, 2014

The partial redemption of Douglas Coupland

I’ve been reading a book. Yes, a book, a book book, a codex, a book that looks like a book, with covers and pages and things. OK, granted, I’m only reading it in such a form because the publisher, has seen fit not to produce a Kindle version. But I do start to remember the advantages of analogue text – for a start, you can use it to reserve your table in Starbucks and be pretty certain that nobody will nick it.

This is despite the fact that the tome in question – Shopping in Jail, by Douglas Coupland – is the sort of minimalist, functional, slim (92 pages) volume that exudes a sort of utilitarian panache in its cover of Guantánamo jumpsuit orange, the sort of book for which ponces such as myself are prepared to pay over the odds in the gift shops of the ICA and the Pompidou and MoMA; which is, of course, exactly the sort of shallow, facetious aperçu about 21st-century consumerism that Coupland might have included in his book of essays. In fact, I bought it because although I’ve pretty much given up on Coupland as a novelist, I can still acknowledge that he’s a good writer. Older readers may recall my review of JPod, which essentially degenerated into curating a list of the book’s best one-liners. 

I’d already deduced that the best line connected with the book occurs among its Amazon reviews but Coupland can still come up with the goods. First he quotes Paul Valéry – “Any view of things that is not strange is false” – with a studied insouciance that precludes him having to explain who Paul Valéry is, thereby leaving the reader wondering whether she really ought to know and, if not, whether she needs to pretend. And then there’s this:
I start to tune out the statistics I’m being told about the future of China’s consumers, which largely have to do with Chinese advertisers targeting the right Chinese consumers. This is depressing, and one would hope China might do something different with targeted data than just nurture shopping — possibly something gruesome and eye opening, but different nonetheless, Seated on a comfy leather sofa, watching the end of a reality series, I muse on the 7 billion people on earth and how almost everybody these days voraciously devours countless unbundled fragments of our creative past, either by watching it as a YouTube clip or by sticking it in a plastic envelope for sale on eBay, and how we seem to be consuming far more culture than we create. I’m wondering if everything before 2001 will be considered the Age of Content, and all the time thereafter as the Age of Devouring.
Which is good and true but is also pretty much what I was trying to say in my book about the Noughties. Although, according to Coupland’s analysis, by recycling his words I’ve come fairly close. Maybe I should give up on this whole shallow, facetious cultural commentary lark and write a shallow, facetious novel instead.

Tuesday, August 19, 2014

Murakami takes a trip

There’s a joke about two-thirds of the way through Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage. At least I think it’s a joke. Tsukuru is in southern Finland, sitting on a bench, eating cherries, when he is accosted by two local girls who ask where he’s come from. He explains that he’s come from Japan and the flight took 11 hours.
“During that time I ate two meals and watched one movie.”
“What movie?”

“Die Hard 12.”
This seemed to satisfy them.
Now, it could be that Tsukuru is just making a facetious, smartarse remark that sails over the girls’ heads, but that doesn’t seem likely. In common with most of Murakami’s central characters (neither “hero” nor even “protagonist” sufficiently addresses their essential passivity), he’s not a smartarse. Instead, because the exchange is so deadpan, so matter-of-fact, the reader could reasonably infer that in the fictional universe that Tsukuru inhabits, there really is a 12th instalment of the John McClane franchise.

Or is it something deeper? The set-up of the story is that Tsukuru finds himself ostracised from his tight-knit group of high-school friends, for reasons they won’t explain. Many years later, when he finally plucks up courage to ask what provoked this expulsion he finds himself retrospectively accused of a heinous crime and once he’s recovered from the shock, he starts to wonder whether there’s some alternative plane of reality in which he might actually have been capable of committing it, even though he has no memory of the act.

This notion of parallel existences harks back to Murakami’s previous book, the behemoth 1Q84, in which the heroine accidentally enters another version of the world without at first realising it. Only when she starts noticing random incongruities both small (Tokyo policemen suddenly appear to be carrying a different model of revolver) and substantial (there are two moons) does it sink in that something’s different. So maybe Tsukuru has entered another realm, one in which everything is as we know it in our own world, except that Bruce Willis got divorced again and really needed the money. Incidentally, the reference to a non-existent film did make me think of a book by Kazuo Ishiguro, an author who is sometimes lazily bracketed with Murakami simply because they were born in the same country. In The Unconsoled, the narrator, Ryder, visits a cinema where 2001: A Space Odyssey is playing and notes without surprise the performances of Yul Brynner and Clint Eastwood. This lurch from reality is one of the first suggestions (it’s never explicitly confirmed) that Ryder is dreaming: and Murakami’s penchant for vivid, often erotic dreams that may or may not be real is maintained in Colorless Tsukuru.

Of course, in the new book Murakami gives rein to many of his other habitual tropes, without which his fans would feel short-changed: music, enigmatic women, telephones and – very tangentially and only towards the end – religious cults. The cats, one suspects, are merely resting. Ultimately, though, his theme is the state of his central characters, the state of being slightly apart from the rest of the world. This is especially resonant for Tsukuru because, unlike most of Murakami’s characters, he leaves Japan, if only for a few days. (As far as I recall, the only time this has happened before was in what I regard as his weakest effort, Sputnik Sweetheart, which involves a sojourn in Greece.) When Tsukuru reaches Finland, the author hammers home his otherness in uncharacteristically explicit terms, heavy-handed, even:
It finally struck him: he was far from Japan, in another country. No matter where he was, he almost always ate alone, so that didn’t particularly bother him. But here he wasn’t simply alone. He was alone in two senses of the word. He was also a foreigner, the people speaking a language he couldn’t understand. It was a different sense of isolation from what he normally felt in Japan.
But, possibly coincidentally, there’s another aspect of the novel that makes the reader empathise with this sense of isolation. To a degree that doesn’t happen in Murakami’s other books, the specific peculiarities of the Japanese language are mentioned several times. The other members of the high-school gang that rejected Tsukuru all have names that refer in some way to colours, whereas his doesn’t, hence the first word of the title. However, it is significant that his own name refers to construction, as he gets an engineering job, building train stations. Later, it is remarked that a character uses high-flown honorifics to address Tsukuru; whereas another character uses informal, even rough pronouns. Later still, a Finnish character finds himself searching for the right word in Japanese. The translator, Philip Gabriel, deals with these potential pitfalls elegantly but each time they occur you are inescapably reminded that you are reading a translation, that you are not Japanese, that you are somehow isolated, apart, other from the absolute essence of what’s going on. Just as Tsukuru can safely eat his pizza in Helsinki but will probably never feel entirely part of the action, we as gaijin are always on the outside of Murakami’s world of outsiders, looking in. If you’ve never before fully identified with the archetypal Murakami not-quite-hero, here’s your chance.

Monday, August 11, 2014

Alfred Hitchcock as a middle-class pleasure

I spent a few hours yesterday watching a couple of silent movies made by a young whippersnapper called Alfred Hitchcock. It was part of Bangkok’s first ever festival devoted to the cinema before sound and it was gratifying to see a good turnout. Well, it was good in terms of numbers, but the bulk of punters seemed to fall into one of two groups, namely young, faintly beatniky Thais of both genders; and farang gentlemen d’un certain âge. It was essentially a middle-class event. Which is sad, because both the films (The Pleasure Garden and The Ring) were intended to be commercial crowd-pleasers aimed at all strata of society in their day; they each took as their milieu a form of popular entertainment (music hall and boxing respectively); and since they were silent movies, shown here with bilingual intertitles, the language barrier that can often discourage locals from enjoying a wider range of entertainment was considerably lowered. But no, it was all skinny-jeaned hipsters and old farts who are starting to look more than a little like Hitch himself. The lady selling little packets of tissues outside the ladies wasn’t interested, nor were the people offering all manner of stuff in the foyer. (Is Bangkok the only place where a legitimate cinema can host a stall flogging bootleg DVDs?)

Of course, things are much healthier in the relatively classless West, aren’t they? Aren’t they? I came home to a Facebook post by my (virtual) chum the arts editor of a mid-market tabloid, wondering why people who make much noise about the need to have art that reaches out to the masses can’t be arsed to talk to her paper. And then there was this article by Mark Cousins in The Observer, complaining about the way that so many British arts venues — presumably inadvertently — conspire to make working-class people feel unwelcome. As he puts it: “But so often, their sleek lines, or facades that look like office buildings, their malbecs and chorizo-studded menus are too culturally thin.” Against this, of course, is what happens when art becomes too popular for its own good, as expressed in Rachel Donadio’s piece in the New York Times a couple of weeks ago: “People now swarm the paintings, step on anyone to get to them, push, shove, snap a photo, and move quickly on without looking at the painting,” says a Florence-based travel guide. When I first moved to London it was genuinely exciting to go to the Streatham Odeon and watch something like What’s Love Got To Do With It in the midst of an audience that was for the most part young, working-class and African-Caribbean as they bellowed abuse at Laurence Fishburne in the guise of Ike Turner. Would I have been so delighted if they’d followed me up the hill to the Ritzy and given the same treatment to a Peter Greenaway double bill? Cousins argues for fish finger sarnies alongside the chorizo but it’s not quite that straightforward, is it?

(Class is tied up with money, of course, but they aren’t the same thing. People with unlimited funds can also make the oddest cultural choices — like the Brazilian plutocrat who set about buying up pretty much every record ever released, although he isn’t quite sure why.)

Wednesday, August 06, 2014

Literally ironic, uniquely iconic

So, language changes. I get that. I use words differently from the way my parents did and they use them differently from their parents before them. They probably wouldn’t have begun a blog post with “so” for a start. And once upon a time “awful” meant inspiring reverential fear (so it’s weaker now, as well as more derogatory) and “decimated” meant losing a tenth of your forces (so it’s stronger now, if less precise) and if you used them like that today (which used to be hypenated – to-day) it wouldn’t simply be archaic, it would be downright wrong.

But – and I suspect that my grandparents, if not my parents, were taught never to begin a sentence with “but” – some changes grate. Loud and mighty was the outrage when dictionaries began to acknowledge that “literally” was frequently used to mean, well, “not literally”. It was unfair that the opprobrium was directed against the dictionaries, which rightly describe the way of the word rather than prescribe or proscribe but I did and do share the annoyance. For a start, there’s already a word meaning “not literally” and that’s “figuratively”. It’s different from “literally” because they mean different, opposite things. When I use a phrase and want to clarify that I don’t mean it to be taken literally, I’ll say “figuratively” and people will understand. But what if I want to ensure that what I say is to be taken at face value? If I say “literally” how many of the people will think I’m using the newer meaning and understand the precise opposite of what I intended? The shift has effectively made “literally” useless as a word because it ceases to have anything like a fixed meaning. Until things have settled down (probably at a point when the original meaning is relegated by the dictionaries to being a quaint archaism) it’s pretty much unusable. And if and when that does happen, we still don’t have a good word to mean that someone didn’t just make a social gaffe, he really did physically insert his foot into his mouth.

The change affecting “unique” is less of a problem as it’s more of a weakening than a complete reversal of meaning. I regularly see it being used to suggest “unusual” or “different” or “special” or “rare” and if this happens often enough, that’s what it will come to mean. But “unique” means something specific: there is only one of these things in existence. And again, if it’s diluted to mean that there aren’t very many of these things in existence, but maybe a bit more than one, what word do we use when we want to indicate that, no, there’s only one, and that’s your lot? The same goes for “ironic”, which now apparently means anything from “coincidental” to “a bit unusual”; and “iconic”, which means “something from a few years back that with the aid of a massive marketing budget and a bit of false consciousness we hope will acquire a historic resonance that it really doesn’t deserve”.

Change in language is good. It can expand our vocabularies, offering us ways to discuss concepts and things that we would previously have had difficulty addressing. But these particular changes, where a word’s meaning becomes blurred from something to pretty much anything, actually constrict language because when a word means anything, it means nothing. And for the time being, while we’re in this state of flux, I’ll refrain from using these four words. They’ve become meaningless.

Saturday, August 02, 2014

Wikifibs, Jarvis cakes and the memorial scarecrows of Nagoro

Way back when blogging was still A Thing, I’d actually worry if I hadn’t posted in the past two or three days. Now it can slide to a week or more before I get an itch of guilt. Of course, in those olden days, if I couldn’t think of anything compelling enough to use as raw material I’d just put up a few links to stuff that had recently interested or amused me and then maybe top it off with an equally random YouTube clip and I’d feel a bit better.

Well, I haven’t posted anything for nearly a week and I feel not so much worry as a vague sense that if I don’t make use of this thing once in a while that it will atrophy and die like an inactive limb, or I’ll forget the password, whichever is the worse. So, without indulging in any further self-analysis, I offer up: an excoriating review of a project with which I was involved several lifetimes ago, which generously describes my own modest contribution as “entertainingly prissy”; musing on what it feels like to be the original for a fictional character (and I point once again to my own form in this area); the tale of a Wikipedia fib that took on a life of its own; Jarvis Cocker in cake form; a debate on whether the highbrow/lowbrow divide has any particular meaning any more; which leads in a roundabout way to the fact that the new Murakami novel will hit the shelves—digital or otherwise—in a matter of days; and from there, it seems to be a short hop to the Japanese woman who found a new way to replace absent friends.

Seems almost like old times.