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December 07, 2008
The Okavango Delta, Botswana: africa's last great pristine wetland; final sanctuary of the persecuted African Wild Dog; dry-season saviour of one of the last surviving free-ranging elephant populations (over 80,000 of them).
And africa's most expensive tourist destination.
Low-volume, high cost is the rule, interpreted as luxury camping and champagne bush picnics by the handfull of safari companies good enough to win a concession from the local people. It's not a national park. The Delta remains largley in the hands of the local communities, some of whom still live there, and many of whom work in the scattering of camps that dot the wetlands from the pan-handle in the north, through the Moremi Tongue, Dead Tree Island and Chief's Island, and down towards Maun. Amongst them are some of the best safari guides in Africa. People who have lived the entire lives in the Delta. They have an impressive knowledge of nature. Most speak several languages, African and European.
For an outsider to succeed in that game is quite impressive. For one even to survive, where unlike in other countries safaris are commonly on foot and un-armed, is slightly miraculous. And to do so with great humour and friendliness - brilliant.
Peter Allison did just that, eventually becoming manager of a luxury camp. His account of those years gives a fascinating insight into the business, its difficulties and many, many strange events. I've heard anecdotes along these lines before, sit at the bar at Nata Lodge for any length of time and you'll find them hard to escape. But Peter goes well beyond that, with humour and with a great understanding of ecology and tourism. Ultimately, this behind the scenes look might leave you feeling a little bit bemused by the safari business and its customers. The Okavango certainly is a unique place populated by some rather unusual animals. I've never quite felt comfortable there myself - far too fancy!
Here's a few photos that give an idea of what it's like...
Press the play button on the bottom right of the slide show.
November 29, 2008
The memoirs of Professor Phillip Tobias are inevitably fascinating. He has excelled in so many fields. Being a great palaeoanthropologist in itself required expertise in many convergent fields: anatomy, evolutionary biology, anthropology and more. Being a great palaeoanthropologist in apartheid South Africa demanded much more: working upon the science of human origins and speciation in Africa while remaining untainted by the National Party's demand for legitimising (corrupt) science. And at the same time, helping to establish a new discipline, an international network of researchers, a new way of thinking about humans and humanity. It all makes for a globally important record.
And yet there's much more to this story: a personal story of commitment to people, regardless of race and culture. As a senior member of Wits, Tobias resisted the evil creep of Apartheid. And once it had become institutionalised, he helped to find loopholes and excuses to keep Wits as open to all as possible - and most importantly, to resist the use of science for the purpose of racist propaganda.
There's much more to this story that I can recount here: the history of Judaism in South Africa, the workings of a medical school, research projects and a University, discussions of pedagogy and the history of higher education. And there are many more interesting and important characters, including Raymond Dart, Louis and Mary Leakey.
But above all, it's an enjoyable read.
Primitive Homo sapiens meeting Australopithecus africanus, Botswana National Museum, Gaborone.
January 06, 2008
Think of David Attenborough as we know him today: the calm and expert voice; a tall, up-right stance, firmly at home in any environment, in any climate; god-like access to spectacular visions of all of the world’s wildife, no matter how rare or remote. Now strip away half a century and almost all supporting technologies. What remains? A primitive movie camera, a mission to collect interesting species for the London Zoo, his friend the pioneering cameraman Charles Lagus; and an as yet un-proven theory that watchable TV could be produced in this way.
Lost at sea, with only a sketch map to guide them, and razor-sharp coral below…
The ship rocked and staggered so violently that it was all we could do to keep on our feet on the wildly tilting deck. As we desperately thrust our poles on to the reef, the racing water almost tore them from our grasp. We fought with all our strength until at last, driven by the gale, our tiny ship struggled out of the grip of the whirlpool and into deeper water…To retreat was impossible for the wind was blowing directly behind us and to go back we should have had to take the suicidal course of furling our sails and abandoning ourselves to the tidal race. We were irrevocably committed to going on. Within seconds, the ship reared and plunged as the next eddy sucked at her bows.
Some simple advice, in case you ever should need to sail across to the island of Komodo:
- hire a sea-worthy boat;
- make sure that the captain and crew know how to sail it;
- ensure that the captain knows the way to Komodo, or at the very least, can read a map;
- a shared language might help to avoid some of the more disastrous misunderstandings.
There simply were no professionals in 1956. Risks just had to be taken.
Zoo Quest for a Dragon is the story of two young adventurers making it up as they went along. It is the best type of adventure story, written with honesty and humour, and accounting for all of the mistakes as well as the remarkable successes. Attenborough’s attempts at speaking pidgin, often remarkably accurate but sometimes amusingly erroneous, capture the spirit of the expedition. Most people will have seen at least some small elements of the footage that they created whilst in Indonesia. Dragons and orang-utans. Some of the most memorable images from the history of wildlife broadcasting. My copy, a Companion Book Club special from 1959, contains photos, maps and an additional gem: Quest for the Paradise Birds, describing their march across Papua New Guinea. Travelling with large groups of porters in the style of the great Victorian explorers, they encountered not only the amazing dance of the birds of paradise, but also the soon to disappear rituals of the tribes, including pygmies and cannibals (one photo depicts a particularly gruesome necklace made of human fingers).
Many fascinating strands are brought together in this book, in a way that would be unlikely in modern natural history television. Most importantly, it presents the people of Indonesia as part of the environment (although tensions between the two are highlighted). And therein is the real surprise. In describing the many rituals and celebrations of the people encountered, Attenborough proves to be as great an observer of people as he is of animals.
Then, as evening fell, the mood changed again. The music of the gamelan became fierce and full of foreboding, and down the steps from the temple rushed the barong, one of the most powerful and terrible of the spirits of Bali. He was a huge four-legged monster. His body was covered with white shaggy hair hung with gilded leather trappings on which were sewn innumerable flashing mirrors. He had a long golden tail which arched far behind him, decorated with sacred cloths and a tinkling bell. His head was a huge bulbous-eyed mask with savage overlapping tusks and beneath his jaws hung the most magical attribute, a long beard of human hair.
The BBC may soon be making some of the Zoo Quest television programmes available through its online archives project. It will be interesting to see if the Attenborough of this book is all that different to the Attenborough in front of the screen. For now, a short clip is online (Real Player): http://www.turnipnet.com/tv/zooquest.rm
December 12, 2007
In his book The Medieval Traveller, the historian Norbert Ohler estimated that a person travelling by foot, as most did at the time, could expect to cover between 15 and 25 miles a day. A surprising multitude and variety of people were on the road in this manner; whenever war, pestilence and the climate of the time allowed. There were well established routes, often leading to popular places of pilgrimage. For example the Pilgrim’s Way through Kent to Canterbury, along which I once managed to hobble a few muddy miles. There were also more adventurous types out on the road, cutting across these paths, or even escaping altogether, beyond Europe and Christendom. How far we have come since then? A few years ago in Silicon Valley I rashly decided to walk between a train station and a nearby business centre. Walk! For a start no one could give me directions that would be viable for a pedestrian. As I tramped off in the direction that I had assumed to be right, the inevitable road crossings were met with everything from disbelief to aggression. I wonder how many thousands of cars passed me in that hour? One could easily believe that the total number of miles travelled by pilgrims during the entire middle ages would easily be surpassed by the total number of miles travelled by motorised vehicles along the roads of a major city in a single early 21st Century day.
The act of walking is not, in the contemporary mind, in itself heretical. It is the purpose of the walk that matters. Walking for therapeutic or spiritual reasons is considered noble. Walking simply for leisure, given that leisure time now is the sacred, is similarly exulted. But walking out of necessity? Walking as a mode of transport or labour? Walking as a way of life? Walking through urban and post-industrial landscapes, far off the leisure guide’s map – tramping? How offensive does that word sound to us? ‘Tramp’: in reality one of the many terms for the itinerant travellers who walk out of necessity. ‘Gypsy’ is another such word. This prejudice no doubt extends to other lesser forms of transport. In Ireland there is a small but entirely respectable travel industry based upon tourists travelling by horse drawn ‘gypsy’ caravan. And yet who are the most despised, the most abused of Europe’s minorities? – those for whom that is a way of life. The title of the book under consideration, The Gypsy in Me, might at first seem a little odd. It could be read as the story of a diasporic jew’s return. There is indeed an element of that. But the book isn’t The Jew in Me. Ted has a keen and sometimes comic interest in pigs and (organic) pork products; assuring there’s no devotion to orthodoxy or racial purity here. It is an encounter with gypsies, in Romania towards the end of the book, that retroactively adds sense to the fragmented events and sensations of the journey: it is a gypsy journey; the un-constrained, joyous, irreverent, landless, journey of a gypsy; a very different kind of walk, a very Other kind of walk. A journey as old as Europe, and as old as the European paranoia that has repeatedly driven the continent to extremes of persecution and violence.
The Gypsy in Me is travel writing with a radical undercurrent. It contains many propositions that challenge our dangerously cosy Euro dream. It is the story of a man walking, tramping even, across a large part of the continent; not only the picturesque and fertile lands of the Euro dream, but also post-Communist urban and agro-industrial wastes, which seem more determining of the journey’s character. Ted Simon is perhaps more a migrant who writes than a conventional travel writer (although he is brilliantly skilled as the latter). And so travelling is for Ted serious work; sometimes fun, sometimes grim, but always engaged with fully. But there lies the tension in his writing, in his travelling. Successful travel writing is necessarily eventful. That’s its work, that’s what he has to offer to us the readers and to them the subjects of the story amongst whom he travels. He presence makes things happen. But at the same time he must travel lightly, with low social impact, never seeming to be a threat. Finding ‘work’ to do, but not ever threatening the local order. Eventful and ordinary. Magical but familiar. Is such a gypsy journey possible in Europe today?
The journey begins with Ted and two companions. It quickly transforms into a solo effort – as Ted the migrant/writer comes to the fore. It’s never an easy journey, but is throughout reported with good humour. Fun is even poked at some dangerously sore feet (definitely not a leisure walker). It certainly is not a comfortable journey. Which is good. The reality is that Europe is an uncomfortable place for anyone who must walk out of necessity. Europe does not like ‘tramps’, and perhaps never has. The fabric from which it is woven is incompatible with the tramp. It has been that way for a very long time. Think back to those medieval travellers. As Ohler establishes, travelling was even then already part of a highly regulated business. Travelling, by foot, horse or boat, was very much necessary. But already that necessity was qualified by noble motives: for the spirit and for the church. A whole network of hospitality extended to ease the pilgrim on their way. Did this network extend to travellers with other motivations? Surely its purpose was abused by merchants and opportunists (Chaucer gives good account of them). But those who travel out of necessity have always been seen as suspicious. My informed guess is that there is a binary valuation at work in European history, culture, geography, deeply embedded in the European mind: the tramp and the pilgrim, or more recently, the migrant and the tourist. Furthermore, it is a continuum. The identity of the pilgrim slides into that of the tourist, then into that of the merchant, and then, inspiring the kind of fear that drives pogroms, into the ‘racial infiltrator’. This ambiguity, its paradoxes and confusions, are at the base of our confused European sense of self, and I believe, are there in Ted’s book as the problem worked over by the journey. Like most if not all of us Europeans, he is a potentially uncomfortable mixture: Jewish, English, German, Romanian…pilgrim, gypsy, immigrant, migrant, tourist, travel writer.
But then much of Europe is also populated by people who never travel. People who’s people have never travelled – or so they assume. On his journey, Ted finds many of these. In Kaliningrad, it is as if the rotting Russian occupying force, and its commander (Ted befriends his family), had always been there. Almost all traces of the former German town of Konigsberg have been erased and replaced by a new Slavic [dis]order. European history is of course a bloody mess of invasion and occupation. Perhaps it enriches the soil. Nonetheless, the foundation of communities and lineages by fresh migrants must be elided. Conventional wisdom declares this to be the only precaution against a relentless cycle of revenge. Communism regulates and limits travel through stifling state controls. Capitalism regulates travel through an assemblage of values, desires, narratives, and circuits: the travel industry. Even when migration does occur, it is perceived more as a form of eternal holiday (the villa in Spain). In both cases, the required effect is to make the sedentary population feel secure. They may have thousands of people moving through their land, but it’s OK, they are just tourists. The real colonisation is well hidden by the perpetual peace of the happy holidaymaker.
But if a community forgets how to travel, how can it adapt to change? How can an up-rooted farmer move on, ripped from the soil of his cultural and agricultural roots? The elision of travel, of the experience of migration, adds to the pain. Perhaps there is another way? A way of travelling in space and time that avoids conflict and pain?
Ted embraces the fact that travel, of the most primitive and unregulated kind, walking, is a political response to the cycle of revenge, to the ebb and flow of territorialization and deterritorialization. It is the absolute opposite of the blitzkrieg. A person walking can be observed slowly approaching, and thus assimilated physically and mentally by the observer. A car, motorcycle or Panzer, on the other hand, arrives far too quickly. Furthermore, one may see the walker’s face immediately. Individuals on foot tend to seep into consciousness. Could they represent a less threatening means for encountering the political or psychological Other? The book is punctuated by an idea, a very significant notion that seems, even to Ted himself, to be rather eccentric. But given these thoughts on the nature of walking, and the history of walking in Europe, it might not be that mad after all. There’s a dark shadow falling across the whole of the journey, cast from a land to the south: Serbia and Kosova. The atrocities were very much public. As public as the failure of NATO and the UN, with all their vehicles, to stop the killings. Is the idea now obvious? Perhaps the conflict could be seen as a continuum of the tensions between territory and migration, land and travel, repeated throughout European history? In which case the best response might be to subvert the very grounding of that conflict. The proposition was thus: a people’s walk, not a march, an unthreatening gypsy-like joyous drift of thousands of ordinary people, into the war zone.
November 30, 2007
And what of the book’s author? He’s pretty adept at this kind of life – island life. He has a reputation as an island poet. Corfu was his family home, along with other animals. Cyprus seems to be a familiar habitat. But his great achievement is this: he gets close enough to the pull of the Tree of Idleness so as to know it like a native, he speaks it’s Greek, he adopts its Byzantine mannerisms and customs; and yet he can pull away when necessary, both physically (making small but intense journeys around the island) and intellectually (seeing the tides of history, politics and empire washing around its mangrove roots). And that then qualifies this not only as travel writing, but genuinely great travel writing – which is never measured in terms of miles traveled on the map. Travel writing as an intensive journey through differences, in time.
What mode of transport is used? If this is travel writing, there must be a vehicle. In fact there are many, small and large, all bobbing around the shallows of the Eastern Mediterranean with varying degrees of shipwrecked helplessness. 571 miles from Athens. 470 miles from Istanbul. 151 miles from Beirut. But amongst this loosely assembled convoy of fates and desires, the principle traveller is the island of Cyprus itself. In the three years covered by the narrative, Cyprus travels a remarkable route. It had already circulated, or been passed back and forth between great powers, East and West, many times. In 2800BC Aphrodite was worshipped. In 550BC it almost floated down the Nile like a papyrus barge. 285BC took it off to Macedon. The birth of Christ was a pull towards Palestine, or rather the beginnings of its conversion into the crusader army’s battle cruiser, sitting menacingly off the Levantine coast. With the great schizm it raised the flag (and murals) of Byzantium not Rome, only to be captured by the Ottomans in 1571. But surely none of that compares to the glory of her Majesty’s Royal Navy? It served her with great devotion, love even, from 1878. And then in 1955, half way through the book, the mutiny began.
The author quickly realised that the historical key to unlocking the culture of Cyprus, as it was before the all-perverting influence of nationalism, was not that of the Ancient Greeks, or even that of Ottoman Islam. Rather, it was a kind of Byzantium. There’s a suggestion that the relative peace within which Greek and Turkish inhabitants cohabited belonged to that of a more ancient civilization, with patterns of daily life more compatible with the landscape and the climate. Each colonizing wave had been assimilated to the island, never conquering it beyond the surface. There were of course differences still, national characteristics, described with a delicious style. A Turkish businessman moves like honey off a spoon – imperceptibly, effortlessly, but still nevertheless purposefully. Durrell’s prose is often, very often, brilliant – way beyond any other travel writer that I know. It is a style that emphasises character without resorting to stereotype, with both efficiency and visual extravagance. Being also an accomplished poet he has techniques and literary tools that other writers never even know of. Principle amongst them is the depth of his knowledge of plants, animals and geography, and the way in which they provide texture and life to the text – rocks, flowers, animals, landscapes, people (their characters observed like an array of species) all permeate his writing, giving its form and its dynamic; the importance of natural history to his prose adds irony to his occasional dig at his zoological brother Gerald (who appears in the book to yet again turn a Durrell house into a menagerie). And it is precisely the observational power afforded by those textual skills that led Durrell to grasp, so well, the forces and movements happening around him: an ancient and unique island ecology battered by storms and turbulent currents from elsewhere.
It would have been easy to write a very different, more stereotypical book. As he discovered when working as a school teacher in Nicosia, the young Greeks were already writing that book. And in that act of national story telling was seeded an invasive weed which would eventually strangle the Tree of Idleness: the Cyprus tragedy. That other story was written under the drugged influence of Lord Byron, hero of Greek nationalism. Durrell tells of young students in his class reciting (badly) tales of Byron, with tears in their eyes. Byron the liberator, Byron the unifier. Throughout Durrell’s story, a paradoxical attitude amongst the Greek Cypriots is observed: they love and respect their British masters, and at the same time they want them off the island. Britain, personified by Byron (who helped to raise a navy to depose the Ottomans), signifies freedom, national unity, racial integrity, and most of all modernity. Greek nationalism, craving ‘enosis’ (unity), was jealous of the United Kingdom of Great Britain. No longer wanting to be treated as children of the Empire, ready to stand alone. In return, the colonial masters behaved with the usual incompetence and misunderstanding, imagining the Cypriots to be an eternally childish people, perhaps even noble island savages. Anthony Eden had more global and devious intentions (Cyprus being not far from Suez, Palestine, Syria), and in secret tensions between Turkey and Greece were being deliberately inflamed. But the colonial administration made a more basic error. Cyprus was part of a Europe that had changed, matured even. But the administration simply could not see that truth. It was no longer an island of farmers, but rather a homeland to a highly mobile international workforce, dispersed across Europe and America. The island that they thought they were governing, the island of the Tree of Idleness, was disappearing fast. And as Durrell smartly observes, by simply ignoring the issue for so long, an extremist result only became more likely – after all, there’s plenty of time to sit around under the tree, or in the café, continually exaggerating the nationalist story; the Cypriots being great story tellers.Bitter Lemons is a most extraordinary book. As the work of a lyrical travel writer, we first see beauty. And then horror, as the revolt starts to grow. By 1956, when Durrell finally abandoned the island, murder and destruction was everywhere. A true tragedy. But one documented incrementally by a master of lyrical difference, of the slow and imperceptible transformation of things. As a record of normality slipping uncontrollably into chaos, and the failure of politics and administration to even perceive its fate, it is a vital story, a text book even, the crisis being in many ways a precursor to Northern Ireland, Yugoslavia, Palestine. Sadly it seems that it’s lesson has been largely ignored by the politicians who might just have made a difference to those terrible developments. Being optimistic, one could imagine that an ‘enosis’ is now inevitable. Not union with Greece, but rather the union of the whole of Cyprus with the new Europe, the early undercurrent of whose formation was in reality the force that stirred the crisis of ’55. But undoubtedly the politicians will still rabble-rouse and play off minorities so as to get their snouts closer to the trough.
November 20, 2007
To mankind’s age old comment on the journey of life that “the first hundred years are the hardest,” the traveler on a motorcycle could add that the first thousand miles are equally tough. p.12
And what of those first thousands miles, down the Dover road and across a depressed Europe, June 1932? Tedium and the uncomfortable wearing together of metal, rubber, muscle and bones that motorcycle manufacturers term “the running-in period”. Robert Edison Fulton Jnr. was perhaps the first of many to take the hard way round: eastwards across Europe, the Middle East, Asia and the USA. Ted Simon recommended this book to me. Bernd Tesch provides the foreward to this recent edition. They both know what it’s like to sit high over a rumbling air-cooled boxer engine for immense distances. Ted and Bernd ride BMW GSs, like mine. As travelers and writers, we are all descended from Bob Fulton, just as the DNA of his boxer engined Douglas bike is present even today in the latest high powered BMW bikes (some authorities claim that BMW copied the Douglas engine for its early bikes, mounting it transversally rather than longitudinally).
Every long journey by motorcycle has its “running-in period”, whether aboard a new machine or revisiting an old companion. But it doesn’t stop there. Beyond that first 1000, there is a slow oscillation around the point at which all runs smoothly. On a bike their is a much tighter and much more critical feedback loop between the environment, the mind and body of the rider, and the machine; all in fine balance, or working their way out of equilibrium:
As the day wore on the sound became more alarming. When I started that morning, the steady drone of the exhaust had been deep and chesty. But now, after half-a-dozen hours of desert driving, it seemed to fill with static, the machine began to wobble, the tires seemed flat, the whole engine seemed on the verge of falling apart, collapsing.
It wasn’t the machine, it was nerves; strung tight, pulled tighter by the constant thought of “what would happen if something happened?” p.65
Ride a motorcycle if you want to know and master paranoia; get a grip upon the awful power of the human mind to envisage even unlikely disasters, and to be pulled head first towards them. Psychologists now call this “target fixation”. If you look at the kerb you will hit it. That’s lesson 1 on day 1 of any riding course.
Bob Fulton’s journey is about transforming that negative target fixation into something positive: how to fall into the right kind of trouble; how to make something out of almost nothing, even amongst the emptiness and desolation of receding empires and expanding deserts. It is quite an amazing story. In many ways such a journey was easier then. America hadn’t given its people an often undeserved bad name. Imperial outposts provided staging points and frontiers linking every hiding place. Even beyond the beat of the colonial bobbies, their influence reached far: his ride into tribal Afghanistan would make a modern traveller deeply jealous. Then it was treacherous, coming at the tale-end of a serious disruption of the internal balance of terrors. Islamic hospitality was his saviour, along with enlightened rulers and friendly peasants. Now, especially for an American, it would be impossible. One is reminded of Chevy Chase hanging upside down from a wooden post: “hi, we’re Americans” – big mistake, one of many.
And after the Middle East and Central Asia, on to “French” Indo-China as it was then, before the first great US foreign policy disaster extinguished that world of relative innocence. He had assumed the service station owner at Angkor, Cambodia, was trying to rip him off. In fact it was the other way round: he was trying to give money to the brave motorcyclist! Bob Fulton realised, as many others have since, that the world is on the whole friendly and helpful, on a personal level. It’s on a more international global level that nightmares erupt. Japan for example, which in 1933 was deeply in love with all things American. If the Kobe Motorcycle Club had achieved the political power that they so clearly deserved, WWII might have been settled on the race track, aboard Indians and Harleys. And Bob Fulton might have been there cheering his new friends on. At a personal level, amongst the small band of Japanese riders with whom he crossed the islands, there could only ever be great respect.One Man Caravan: a great adventure. Well written, with a scattering of fascinating pictures and maps. Honest. Full of excitement and exoticism, but with many connections between that world (now disappeared) and the present day.
May 02, 2007
Writing about web page http://www.jupitalia.com
59,000 miles on a motorcycle is, in experiental terms, quite a journey. It is many times greater than that same distance travelled by car. And by air? – there is no comparison possible. There is always something special about travelling by motorcycle. Ted Simon has developed conclusive arguments on the subject: being exposed to the elements and the terrain, covering large distances with ease, experiencing sudden contrasts and juxtapositions, meeting people on their own more human terms, the constant physical and mental difficulty that intensifies experience, the ability to just stop anywhere at anytime, changing direction or just letting unplanned things happen, and quite often the humility of being a small individual on a big road. Speed and agility should of course also be mentioned. And danger? Yes, as Ted recently explained to me, that has to be part of it too. You’ll find all of these factors throughout Ted’s latest book, Dreaming of Jupiter. Both on the journey that it documents, and in the resulting book, they combine to make for an exciting and important read.
In 29 months, between January 2001 and June 2003, Ted piloted his bike, with varying degrees of skill and luck, on a journey of just that great intensive and extensive length. For a second time, he encircled the world and joined up countless distinct points and narratives just as he had in the ‘70s, resulting in the classic Jupiter’s Travels . On many occasions, chance and geopolitical forces conspired to pull him away from his planned route, which should have followed that of the 1973 journey. Afghanistan was out of the question, with consequences for Pakistan. The results are, however, still as interesting, and perhaps even more significant in providing us with a picture of how the world has changed in 30 years, and to where it might be heading. Perhaps the most important thread joining the two books together is that of migration, and the plight of the migrant. In 1973, I have claimed (and Ted says I’m on the right track) he was a migrant amongst migrants. Now he returns to the ever moving ever striving ever changing “unfinished world” (Ted’s great alternative description of the developing world). The intensity of it’s desires and frustrations is shocking. This book acts as a warning to the rich nations.
So there then are a few good reasons to read Dreaming of Jupiter. But there’s a lot more. Ted’s style, a master of the art of travel writing, sets these arguments within a thoroughly enjoyable context. There’s more humour than the first book. Characters and situations are drawn up rapidly, but without resorting to cliches and stereotypes. Add to that lots of action (including one of the most dangerous high altitude breakdown rescues ever), beautiful ladies, fun with the Allende’s, and a BMW R80GS, what more could you possibly ask for?
February 04, 2007
Because things like this happen…
Arriving at a hotel in Peru, no doubt looking somewhat worn out by a hard ride across South America, Ted Simon is pleased to be given a discount:
‘Por essos que llegen en coche, ochenta. Pero essos en moto son muy hombre,’ said the clerk with a grin. In other words, car drivers pay the full rate but there is a discount for heroes. p.288
Heroes deserve discounts!
January 16, 2007
A very great book, many agree on that. But what kind of book is it? For a while I thought that I could take an interest in the travel writing genre, having enjoyed and learnt greatly from Jupiter’s Travels. I read a lot of travel books. Some are impressive in their own ways. But I remained disappointed. Then recently I read Ted Simon’s classic for a fourth time. Half way through Africa, the second of the journey’s six continents, my mistake became obvious. It’s not really a travel book at all. It is a book of migration, diaspora, escape.
You can, if you want, read Jupiter’s Travels as a great adventure story, which it certainly is. It’s a good, if not the best, motorcycle travel book. If that’s what you want, then just read it. But there’s more. Much more. This is my response to the first two chapters…
Conventional travel books are essentially long postcards dispatched to home. ‘Wish you were here’. Or in some cases, ‘bet you’re glad you’re not here’. Eventually, as we know right from the outset, the writer gets back to the home that was always there. But there is never really a homecoming, or even a home in Jupiter’s Travels (the sequel to Jupiter’s Travels was at one point published as Riding Home, but is now entitled Riding High). Yes, the world was encircled in Simon’s tightening noose. The two ends of the journey, start and finish, twisted around each other on the return to Coventry. The rope tightened…but around thin air. The world had slipped away and refused to be suffocated.
A life, the journey, continued, jumping back and forth across the surface of the world, California, India, France, Romania etc. It continues even now. Part Jewish, part German, part Romanian. Human shrapnel dispersed the First World War and the collapse of the Ottoman Empire. Culturally English, living in America, perhaps even a little bit Indian (spiritually). Part this and part that: Ted Simon – like half the people in the world, on the move, looking for opportunity and experience. A migrant amongst migrants.
Why does this matter? What difference? Travel writing has a recurrent fault: the writer/traveller never really lets go. The journey remains as an interlude within the career. The people and places that are documented never rise above the status of curiosities. The events, the interruptions, are mere diversions. Reality, coincidence, only distracts from the essence of places, or rather landmarks, represented as recollections, travellers tales, postcards, ideals and ideas. But the world is actually full of migrants and coincidences who, to the travel writer, may seem incidental, never true to a place. The vast majority of people in or from the developing world are migrants. Accident, the interconnections between the unstable and shallow surface of things, is the real. Real places, real experiences, which may seem permanent and eternal to the travel writer, are in fact transitory and temporary constructions of coincidence. History (human and natural) proves this, although the power of the travel industry transforms the mistaken apprehensions of the travel writer into self-fulfilling prophecies: places become more like the stories that are told about them. The importance of Ted’s book is that he actually becomes a migrant (or perhaps always was one), and is thus able to encounter the world and its people on their own terms. Being a migrant amongst migrants allows the writer to value people, places and events. I can’t think of single location in its 447 pages that could ever become a new tourist attraction. They are all far too real and minor. Many of them no longer exist, having been swallowed up by development, decay or dessertification. An epic book of an epic journey, never serving the imperialistic colonising travel industry. The philosophers Deleuze and Guattari invented the term ‘minor literature’ to describe writing that comes from migrants and under-dogs. It may still be great literature. Kafka they say is minor literature. But it doesn’t come from the dominant major culture within which it swims. Jupiter’s Travels is part of a related genre: minor travel literature. This is how it’s done…
63,000 miles on that feeble little machine! Hacked together from the Meriden parts bin, amidst a near-death experience for the old Triumph company, and then the total collapse of Midlands industry. Only hours south from that miserable place the crankcase spewed its store of lubrication across the road. Failure in the 1970’s was just part of the plan, quality control to be undertaken by the customer out on the road. It was rebuilt and the journey stuttered into life again.
Half way across Lybia and the engine had already started to self-destruct. In those days a spare piston was just part of any long distance rider’s toolbox. The ability to strip and rebuild an engine somewhere out in the African bush? Taken for granted. And finally, just south of Louis Trichardt in SA (where by coincidence I once broke a gearbox) valves dropped, a sleeve corrugated, rings warped and the piston seized:
“The broken metal had penetrated everywhere and again I was struck by the force of the coincidence that all this havoc had been wrought virtually within sight of Johannesburg”. p.173
The end clearly being both nigh and divinely ordained, any normal person would have bailed out. But Ted Simon is no ordinary person. He still had another four continents to crash through (with increasing grace and understanding): interrogations by the Brazilian police, vast landscapes to carve out, portraits to draw of hundreds of people in detailed miniature, love and ideals, horrible accidents (when fishing not riding), India, and an encounter with destiny.
Apparently, a machine only works when it breaks down. Or as the journey demonstrated:
”...the interruptions were the journey.” p.132
And what a machine! A literary machine, an intellectual machine, a desiring and sometimes paranoiac machine. All wired into the bike, the journey and its improbable rhythms:
“The movement has a complex rhythm with many pulses beating…all this metal in motion, amazing that it can last for even a minute, yet it will have to function for thousands of hours [like a human heart]...Through all these pulses blending and beating I hear a slow and steady beat, moving up and down, three semi-tones apart, a second up, a second down…Is it the pulse of my own body intercepting the sound, modifying it with my bloodstream?” p.28-29
The rhythm is both dependable and on the edge of breakdown. Like consciousness itself. It acts as a single line through time and space against which the world is measured. Marking time both produces and absorbs intensity. And then looking outwards from this beat, time and its extension in space is conquered:
“From Tripoli to Sirte is three hundred miles, and I’m really flying with the engine singing for me and everything rapping along nicely. There’s a lot of rain, but I’m less nervous of the wet now, on tar at least. The land and sea lie flat out forever, and I can see the weather coming maybe fifty miles ahead. I have never seen so much weather. I can see where it begins and where it ends; I can see the blue sky above, and the approaching storms and then the good times beyond. Remarkable. Like having an overview of past and future. I am a world spinning through visible time.” p.53
And at the end of Africa:
“I have just ridden that motorcycle 12,245 miles from London…As I think about it I have a sudden and quite extraordinary flash, something I have never had before and am never able to recapture again. I see the whole of Africa in one single vision, as though illuminated by lightning.” p.183
He is of course that lightning flash, connecting thousands of disparate and ever moving points across the vastness of Africa. That interconnection of surfaces is then his essence, the essence of the migrant. He qoutes Gerard Manley Hopkins on the strangeness of being (he revived the medieval philosophy of Duns Scotus and its notion of coincidental but non-decomposable, un-dissolvable uniqueness and identity: essence through accident).
But how many people need to go through 63,000 miles of pain and pleasure to get a home, to clarify and solidify their own substance?
Why? What motivation? There was something demonic, possessing – not just the fire in the cylinder bores, although the bike is important in itself. Rather some circuit in Ted himself, circulating round and round iteratively, sometimes whirling like a tornado of doubt and fear sucking events into its core. At times the force is intense, a whirlwind ripping across the surface of the Earth. Is the journey there to satiate and extinguish that force entirely? Therapy? Or perhaps travel of this kind, and its writing, is a learning process: the question being how to tame and harness that power. How to live successfully as a migrant? Perhaps that could help us with our conflicts and confusions? In Tunisia the effects start to look dangerous. In Libya and Egypt, the raging Yom Kippur war perhaps distracts the police and the people from the effect. And then in Egypt it comes back even more fiercely:
“Could turbulence and change be ‘carried’ and transmitted like a disease? I knew I had brought excitement into those three lives, but the news from the front was always good. I wondered, unhappily, whether I was destined to leave a trail of grief and misery behind me too.” p.74
This is the fate of the migrant. But by the end of Africa, enough has been learned upon which to form a new way of being a mobile difference engine on the road. That is the art of the migrant. However for a while, when physical movement ceases, these lessons no longer make sense. The journey must be taken up once again. And then by California, the traveller and the reader are to a much greater extent able to stop the extensive spatial movement through space while still retaining an intensive movement on the spot, still governed by the habits of a well practised traveller. At this moment relations with other humans are able to deepen and stabilise, at least for a while. Ted finds love, but as the interconnection, intertwining of a set of mobile and tensile surfaces, soon to spring back into life: Australia and Asia.
November 21, 2005
I like this description:
Deleuzian MOR: a numinous, luminous twitterscape of women-animal becomings, a hymn to light, and lightness.
Of course we don't need to suppose that she actually reads Deleuze (although I wouldn't rule it out). More importantly, she seems to have a deep insight into how artistic creativity works (and sometimes doesn't). Obviously that comes from being a compulsive and quite ambitious composer of soundscapes and words. But Aerial goes further, showing a reflective and very clever mind extending that understanding out from music and narrative to light, colour and the inhuman (animal). It's the relationship between these aesthetic planes that gives A Sky of Honey, which k-punk describes as "her most painterly record", its power and fascination. This is aesthetics as carried out reflectively by an artist. And she knows it – her interviews, including the recent Mark Radcliffe interview, contain indications of this.
And what does this mean for Deleuzians? If you actually listen to what artists have to say about how they work and the material of their work, you will hear Deleuzianisms. That's not because they are necessarily Deleuzian, but rather, as in this case, that Deleuze and Guattari really understood art and aesthetic creativity.
Deleuzian Kate? Perhaps Bushian Deleuze.
k-punk's review is also worth reading for the artworks with which he illustrates it
November 08, 2005
Like many people, I have spent twenty years listening to Kate's 1985 work Hounds of Love, especially the Ninth Wave suite of songs that make up its second side. And even now I occasionally find new subtleties. That was and still is a real adventure in sound and words. It was the best of Kate's work, perhaps because it takes an arrangement that always works to great effect (Kate, piano, and an ensemble of some of the best classical, folk and jazz musicians), and punctuates it with uncanny unexpected sounds and narratives that are completely new and unheard. Beauty and recognition right alongside and seeping almost indiscernibly into dark humour, horror, terror, loss, madness, and quite often a becoming-animal with which she has happily bewildered an unsuspecting pop world (finally Front Row have acknowledged that this isn't pop). Listen, for example, to the utterly bestial human-donkey braying at the end of Get Out of My House from 1982.
There is, as I think Kate has indicated, a continuity between Aerial and Hounds of Love. This time she gets a bit more time and space to play with (12 years, 2 discs, and a really nice CD case and booklet). All of the above mentioned characteristics are there. Joanni, for example, in which Joan of Arc is reincarnated from myth to real complex sonorous woman. Listen to the strange obstinate vocal towards the end.
I'm not going to give a summary or critique of all of the songs. More importantly, a suggestion of how to listen to this music. For a start, recognize that it's very expansive, much more so than her last two albums, and certainly more so than any other current songwriter. So don't expect to get the whole story in one go, or perhaps even in twenty years. But you will still get instant gratification. There are sounds and ideas in here that will hit you instantly, and stay with you for a very long time. Listen lots, and listen carefully. And do read the lyrics. They are quite obviously the product of a writer, not someone hooking words onto sounds. And then watch out for and consider the surprising ways in which the words and music negotiate with each other: the innovation, the real magic is in the often difficult relationship between narrative and sound, almost (but only ever almost) to the point at which it falls down.
I wrote some time ago about painting and chaos - the haptic physicality of the hand and the brush, the diagram that is the brush stroke marking out a concentration of light, world, body, eye, mind etc. And then also how, as Deleuze argues in Logic of Sensation, music takes off from painting - colour becoming disembodied in sound and penetrating surfaces (and identities), finding a line of flight, going further than light, which is subject to shadows and the phases of day and night, but at the same time (especially in nature, birdsong) dependent on and anticipating light. Sound carries through the darkness, and as in the Ninth Wave, is a defence against and means of reterritorializing darkness: a refrain as D&G would say.
The second CD, A Sky of Honey, does exactly that. It is a passage from day through sunset, a nocturn, and back to morning. From the chaos, colour and chance of a painter. Through colour's dissipation into sunset, and its preservation in the night sky, and then back again with sound (the song of birds) anticipating the return of the morning light (see an earlier entry on the refain and birdsong via Olivier Messiaen).
I said there is deep complexity in this music. But I also said that you will get instant gratification. A Sky of Honey gives exactly that. It is thoroughly gorgeous – like Seville, of which it reminds me (watching painters in the gardens of the Real Alcazar, sitting in mellow cafes, being invaded by wild flamenco buskers). You will be overwhelmed with the beauty of the sounds and the words. I am.
Ask me again in twenty years, i'll still be listening then.
If you are interested in discussing this entry, then please contact me
October 31, 2005
Who was it that wrote that song of summer? The blackbird sings at dusk. This is a song of colour.
Overwhelmingly perfect piano and bass combination. Eberhard Weber I think. And the transformations between sounds and rhythms are wonderful. The shift up tempo, as the spanish guitar joins in, is both gentle and racing at the same time.
There's something painterly about it. Turner seascape painterly.
The Aerial double CD will be released on Monday. Kate will be on Front Row (Radio 4) on Friday evening. More of the tracks have been played on the radio today. The Kate Bush News web site has links to streams.
ANNOUNCEMENT: Sunset has now displaced You Want Alchemy as my favourite song.
October 27, 2005
The stream seems to have been taken from the more "abstract and conceptual" of the two discs, A Sea of Honey (not at all like the current single release). It is accompanied by an animation based on the CD cover, which features a golden sea scape with a waveform stretched across the middle looking almost like a row of mountainous islands reflected in the water.
The clip starts with a repetitive piano riff (think Olivier Messiaen), which is then overlayed by a short sampled birdsong riff (definitely think Olivier Messiaen). The animation makes it clear that the waveform is that of the birdsong. And then a line sweeps across the screen, very much alien and intrustive to the natural image, reminding us that it is a composed image – or perhaps the waveform is sweeping through the line. In any case, the coherence of the waveform is deflected outwards, throwing out fragments that morph into a flock of birds. And at the same time, the sound of the bird song is transposed into a more human, infant sound.
Intrigue: see the clip.
Messiaen was fascinated by birdsong; he considered birds to be the greatest musicians, and considered himself as much an ornithologist as a composer. He notated birdsongs worldwide, and incorporated birdsong transcriptions into a majority of his music. Wikipedia entry
October 20, 2005
After spending a few weeks away from my research project, I usually restart my thinking by quickly reading a popular-science/history/art-theory book of some kind. My means of choosing such a book is usually quite aleatoric: the criteria being "something that sounds good, is easy and fast to read, and which may provide some unforeseen empirical data for my conceptual activities".
Mark Buchanan's book, selected from the popular-science section of Waterstone's in an instant, without much consideration, met these criteria well. The aim of the book is to convey and contextualize what is a fairly simple idea. But what makes that simplicity into something more significant is that it is an idea that seems to have been overlooked, and which once brought into consideration, gives explanatory sense to lots of seemingly unrelated phenomena. For me as a philosopher, that is interesting: what thoughts were impossible before the arrival of this concept? what errors were made?
The concept is, superficially, that of the "small world network": that is to say, how networks seem to naturally form from highly chaotic and random situations, into simplified but still random organisations, connected together by specially priveliged nodes that do much of the work of maintaining order and flow in the system. As a result of this priveliged position, and the dynamics of its connectivity, all kinds of sophisticated behaviours (economic, social, cognitive, ecological) can be seen to emerge: results of what has been called the network effect (although there is much more to this than the business model). It plausibly demonstrates how it is quite feasible for one random person to be only six degrees of separation from another random person. And then it extends this model to many further domains (physical, ecological, computational etc).
I'm thinking: Kant, sensus communis – what if he new about small world networks? Or conversely: Nietzsche – what did he know? And of course it is there in Deleuze and Guattari (concepts such as transversality), but rarely with the very definite examples that we now know of. A fascinating question to consider would be: when exactly did the concept of "network" arise? – and at what point did people start realising that the conditions for the establishment and operation of a network may cause certain behaviours, patterns and organisations to emerge (the network effect)?
Connect it to Andy Clark's extended cognition theses (with its tightly coupled systems). And throw in our experiences with the small world system known as Warwick Blogs. Interesting. Very.
Even more so because it turned out that, as I discovered on page 16 as the author described the kind of surprising coincidence that a small-world network can cause, I am in fact only two degrees of separation from Mark Buchanan! He is a friend of a friend As I read…
I moved a few years ago from the United States to London to take up an editorial position with Nature
…I dropped the book when I realised that he may well share an office with my friend Karl, who is also an editor with Nature, also working in the physical sciences. Karl is a Moosehead, with whom I occassionaly drink, eat chillis, and bellow loudly. On Friday night (whilst in the Bilash in Botley) I explained this to Travis (also a Moosehead, if not the head Moosehead). Travis was actually planning, that night, to write an email to Mark Buchanan. It may even be that I have met the author at some Moosing event at some time (although I may have been drunk and therefore incapable of remembering the names of any new acquintance). Spooky. Or just the result of a small world network.
Buchanan's book does well to rapidly explain the work of Watts and Strogatz, Granovetter, and other pioneers. It is entertaining and full of fascinating examples throughout – especially when dealing with the ingenious experiments of the sociologist Stanley Milgram. The connecting-up of cases from such a wide range of domains begs many questions (important philosophical questions that I think Deleuze and Guattari address effectively in What is Philosophy?). But it is very much worthwhile because of that.
I'll give the book 4 stars (not 5, as it could do with a bit more detail on the mathematics and mechanics of the networks).
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October 06, 2005
Writing about web page http://www.katebush.com
Superb. Dramatic as expected. Dark, very dark humour. The sound is even more voluptuous than ever, matching the depth and intensity of the words. And the subject: celebrity, identity, Citizen Kane, Elvis: a huge drama, both deeply painfully personal, and in an other world altogether – the world in which Elvis dances on his own grave. Keep listening. I will, and it will keep growing in depth.