30 August 2011

Unsayable Things - Grief

When someone is terminally ill what is there to say? Can language express everything we need it to? Some people have a stream of comforting words to offer, but of course the words ultimately can be of no real comfort. The language that does exist can become a torment in itself; people talking of false hopes, miracles that may occur but never will. Struggling with words of the future and the present, the inevitable language of the obituary hangs around the person each dying day; by the time it is actually time for the words of obituary they are so well worn that they no longer seem meaningful. It seems like we can bang on the door, but never find the words to open it and pass through.

Little wonder that I’ve always found myself quite tongue-tied in such situations. After losing someone, I’ve found myself worrying about whether I said enough and whether what I did say was the right thing to say - you can tell yourself not to dwell on such thoughts, but they’ll stalk you and leap out at some unsuspecting moment regardless. But unlike when someone is rude to you in the supermarket and you come out and think, ‘ah! I know what I should’ve said,’ no such moment of possible resolution ever presents itself.

As a sometime-writer I have often struggled and been troubled by my absolute failure to be able to find fitting words to describe the grief which has stalked me since my father died after a year and a half of progressively and painfully dying. Recently I had a bad dream which led me to thinking I didn’t say enough whilst he was still with us. But the reality is that I’m still no closer to having the words to make sense of it all than I was in the earliest days of the cancer taking hold.

The truth, I have come to accept (though find scant comfort from) is that there are no words available to me within our language which can express the feelings of my grief or adequately describe what cancer did to my father.

In this I am reminded of something Primo Levi said about his induction into Auschwitz. His group of Jewish Italians had just been delivered from the train to Auschwitz, taken from their homes and then separated from their ill-fated women and children at the camp. They had to hand over all their documents and personal items and had to strip naked and hand over their clothes, which were carried away by strange phantoms. Later their hair was shaved off. They looked at the figures in the mirror and realised that within hours...

“We [had been] transformed into the phantoms we glimpsed yesterday evening. Then for the first time we became aware that our language lacks words to express this offence, the demolition of a man. In a moment, with almost prophetic intuition, the reality was revealed to us: we had reached the bottom. It is not possible to sink lower than this, no human condition is more miserable than this, nor could it conceivably be so.” - Primo Levi, IF THIS IS A MAN

We bang on the door, and I suppose we must, but certain things remain impossible to adequately say with the language we have. There are no words to express the true realities of the demolition of a man.

And so, to those of us left in grief, we get on with our lives and as time goes by we are distracted more often from that grief but it never heals, never lessens, when it enters our minds. There is no tonic to be found in language to understand the trauma of seeing such misery and such lows of the human condition.

On the day that I had the bad dream, which brought the unanswerable spectre of grief back to my mind, I had witnessed something in the back garden - the paradise and sanctuary, where sparrows nibble on crumbs and collared doves flap heavily overhead. The sight gripped me and knotted my stomach - ah! the realities of nature are gruesome, I thought.

Here is a video I filmed of a Sparrow Hawk ripping a Blackbird to bit.


My dream had not featured any birds, but I woke up with the above images very much in my mind. It struck me... the Hawk is the grief and I’m the Blackbird; just as the Hawk was the cancer. You can not be released from its grip, it is too late anyway; and it just rips and rips at you inside. The Hawk doesn’t visit regularly, but what it does when it is here never leaves you no matter how many pleasant but forgettable days you watch the Sparrows nibbling on crumbs of cake you’ve dropped for them.

...ah, but the words have failed me and now I beat on the door with a Blackbird’s carcass!

12 December 2010

Streets Brought Alive By Chants

It has been a remarkable month. Two big national demos in London and three local ones in Manchester. They've been full of energy, and full of young people. It has been truly exciting to look around a crowd and not recognise people - this is a new generation rising up against Tory ideology. Here are some of my favourite chants that have come from the mouths of kids previously written-off as apathetic;

A simple chant capturing so much feeling: 'TORY SCUM! TORY SCUM! TORY SCUM!' The Guardian had a line on it's front page after the first demo (Millbank);

"The ancient British roar of 'TORY SCUM' echoed once again across Westminster." A necessary chant and one that gained a lot of instant support from passers-by and builders etc.


Next, I'm in Parliament Square, kettled in by vicious riot cops. A group of teenage girls clap and chant in a tight and catchy rhythm. Raising their hands high in the air they point to each other and chant, 'This is what democracy looks like,' then jabbing their arms and fingers in rhythm towards the lines of riot police protecting parliament they chant, 'That is NOT what democracy looks like!'

Again a group of very young girls chant, 'The only cuts we want to see, are Tories on the guillotine.' It betrays the deep hurt that this failure of democracy has caused so many young people.

A small group of protesters trapped outside the kettle stumble on a vintage limousine carrying a Prince and Princess through the center of the City in which generations had just been robbed. They impulsively throw stuff at the car, hit it and chant, 'Off with their heads! Off with their heads!' Remarkable, and the mask behind which monarchy hides briefly slipped.

Protesters broke down the door to the Treasury chanting, 'we want our money back!'

I may add more to this list in the future, you will be aware of my interest in such folk traditions. But I'll leave you with my favourite little song that protesters have been singing;

Build a bonfire, build a bonfire,
and throw the Tories on the top,
put the Lid Dems in the middle,
and we'll burn the fucking lot!

11 December 2010

Beyond Here Lies Nothin'

I just stumbled on a video for Bob Dylan's Beyond Here Lies Nothin' which I'd only watched once when the Together Through Life album came out in 2009.

It is a remarkable video. I'm not sure what the remark is, but it is remarkable.


On the one hand the video seems oddly jarring with the border-town rhythm of the song; yet it somehow builds into a ballad of ultra-violence, each punch of the music providing a new assault. It provoked a visceral reaction, shock, horror, despair and then a truly weirdly conflicting tonic. For me, it's a good example of when something is so ugly that it's pretty much beautiful.

It's also interesting to see it as a response to the posturing violence celebrated in so many gangsta and even pop videos. This is real and desperate. (And genuinely violent!).

It is a desperate song; trapped within a cycle of no-hope, trying to break away but having no capacity or imagination to hope for any better a life. It's like breaking away from an abusive relationship and sitting staring at the horizon only to remember you can't escape demons of your past, so you return to the only love you've ever known. Indeed, it reminds me of the end of many a relationship, looking to future and seeing nothing, unable to remove the obstacles of the past. Naturally, it also reminds me of how we live under an abusive system like capitalism where we are expected to strike blow after blow on each other in order to be the one who survives, suffering because we do not yet have the collective imagination to see anything lying beyond capitalism.

I await the sequel, Beyond Here Lies Socialism. But for now this is a fitting display of ultra-violence to remind us of the desperation we so badly need to break away from.

15 November 2010

Cow In A Field; 147 Break

When I was a kid I wrote a song about how I wanted to be a cow in a field, not giving a damn about yesterday's ideals. I got thinking about it during this year's Snooker World Championship, in which old man Steve Davis had a really good run. But why shouldn't he? Why aren't older players capable of outdoing the youngsters? I think it was John Parrot who said that when you're an older player and you go down for a risky shot you are carrying the burden of the memories of every time you've missed such a shot in the past. The ever-increasing burden of remembering being the downfall of a man, perhaps even a whole culture... It made me think of Nietzsche...

Consider the cattle, grazing as they pass you by: they do not know what is meant by yesterday or today, they leap about, eat, rest, digest, leap about again, and so from morn till night and from day to day, neither melancholy nor bored. … A human being may well ask an animal: 'Why do you not speak to me of your happiness but only stand and gaze at me?' The animal would like to answer, and say: 'The reason is I always forget what I was going to say'- but then he forgot this answer too, and stayed silent: so that the human being was left wondering.

…Thus the animal lives unhistorically: for it is contained in the present, like a number without any awkward fraction left over; it does not know how to dissimulate, it conceals nothing and at every instant appears wholly as what it is; it can therefore never be anything but honest. Man, on the other hand, braces himself against the great and ever greater pressure of what is past: it pushes him down or bends him sideways, in encumbers his steps as a dark, invisible burden... (Nietzsche, section 1, On the uses and disadvantages of history for life)

12 November 2010

What's Not Ironic is Dave Eggers

Sample: Benji [the dog] was run over by a bus. Isn't that ironic?
NO: That is not ironic. That is unfortunate, but it is not ironic.

Sample: It it ironic that Benji was on way to the vet when he was run over by a bus.
Still: That is not irony. That is a coincidence that might be called eeire.

Sample: It is ironic that Benji was run over on the same day he misused the word ironic.
But see: This is, again, a coincidence. It is wonderfully appropriate that he was run over on this day, deserving as he was of punishment, but it is not ironic.

- Dave Eggers, unironic man.

7 November 2010

Hoedown, Aaron Copland

I woke up in the most delightful manner this morning: with Aaron Copland's 'Hoedown' playing through my mind.

http://www.youtube.com/watch?v=LsReWx9XdNs

Hoedown is an exciting piece of music. I jumped up out of bed because upon hearing the music I have become conditioned to jump up to my feet. This is because on more than ten occasions I've been sat waiting in various grungy venues and the sudden burst of this music, accompanied by the strong whiff of nag champa, heralded the fact that Bob Dylan and his band were about to take to the stage.

After about 30 seconds or so the announcer's voice would begin over Hoedown... 'LADIES AND GENTLEMEN, please welcome the poet-laureate of rock and roll. The voice and promise of the 60s counterculture. The guy who forced folk into bed with rock. Who donned makeup in the 70s and disappeared into a haze of substance abuse. Who emerged to find JESUS! Who was written-off as a has-been by the end of the 80s, and suddenly shifted gears releasing some of the strongest material of his career beginning in the late 90s. Ladies and Gentlemen, please welcome Columbia recording artist... BOB DYLAN.' Hilarious stuff! Some journalist had written a potted-history of Dylan in a review one night in 2002 and the next night Dylan had turned it into his stage introduction; delightful! (For those so minded to see this; http://www.youtube.com/watch?v=LCaGuZARpAM)

After some years with Copland's Hoedown, I believe Dylan is currently showing a silent movie as his introduction, D.W. Griffith's 'Intolerance: Love's Struggle Throughout The Ages.'

Hoedown, though, is such a great piece of music to arrive to. It immediately puts you in mind of bands of brothers riding around the American West on horseback, dropping in town after town, staying a night or two at most, probably having to leave in a hurry. It seems so evocative of men who only know how to do one thing; Keep on keeping on.

But it is also complex. It isn't just a ye-haw giddy-up piece of music; there are complex counterpoints at play. It's a bold declaration of a life in motion.

I wish I could wake-up with this piece of music in my head every single morning! And off I go, galloping into another day...