Showing posts with label Waiting for the Barbarians. Show all posts
Showing posts with label Waiting for the Barbarians. Show all posts

Monday, 10 November 2014

What Price Peace? A Sunday Assembly 'sermon'

The Sunday Assembly

I was asked to give the first 'sermon' at a new Sunday Assembly in Norwich this last weekend. Given it was Remembrance Sunday, the theme What Price Peace? jumped out at me and I wrote a rather long and exhaustive essay riffing on themes of conflict and complication, silence, individualism and community. I'm hugely honoured to have been asked, and hope I produced something interesting and thought provoking. The Sunday Assembly has a great vision: to live better, help often, wonder more.
 For more information or if you are interested in joining Norwich Sunday Assembly, visit the website here, or find out more on Twitter or Facebook.



I hate to break the silence... We get so little of it, don't we?


Sometimes my life feels like a long search for silence. For stillness, and calm. I have a blog called Books, time, and Silence, the title of which I took from a quote by the author Philip Pullman, and at the time I picked it for its focus on books and reading and the importance of making space for them. But as the years go by I find it might be the other way, that I am trying to make space for silence, into which I might inject reading.


I probably should have been a Quaker or Buddhist. Or a monk! None of which I really know anything about and all of which would probably involve too many rules which might drive me crazy. But I want to know about them, and the ideas that drive them. I don’t want to judge without learning. And there is so much to learn. Which is why, right now I’m pleased to be here with you. And instead of further silence, I'm going to fill this room with my other great love: words.


Earlier this week a group of friends and I went to London for a party in the Natural History Museum. Amidst the absurd excitement of drinking wine beneath the diplodocus in the central hall, and wondering whether the giant blue whale might come to life movie-style when we were kicked out at 10pm, I got to discussing the grandeur of the building. I hadn't been for a decade or so, and I had forgotten how dramatic the architecture is. I mean, really stunning. Every wall, every column and Romanesque arch is gilded or carved or decorated in some way. I asked a man I happened to be talking to about the origins of the building, and he happened to be an expert on architecture and public buildings – he works for Historic Royal Palaces in London. And he told me that it was a Victorian building, part of a trend to build cathedrals to the ideas of the age: evolution, science, and the public value of knowledge and learning.


That's great isn't it? The public value of knowledge and learning.

I respect the Victorian approach to creation. As a societal whole, they were riding the crest of the widest change in society. And this led them to conquer and impose and feel superior which aren’t very good. But it also led them to create. And they didn’t behave like Henry VIII or the 1950’s town planners, they didn’t destroy everything that came before them which they didn’t like: they simply added to it, repurposed it. They developed. They expanded. Many complain about the collateral destruction this did to historic buildings, but they weren’t just conserving the past, they were building something new on the back of great things of the past. Building a future. That feels admirable, to me.


Although we are here today in slightly less impressive surroundings than the Natural History Museum, this Sunday Assembly too feels like a monument to the public value of shared experience and learning. We are here, perhaps, because we want to better ourselves, individually, together.


I am not at all religious. And I don’t much like ceremony either. What I have loved on the occasions I’ve been to a religious service is the sermon. Sitting there in a hard pew in an often cold church listening to someone talk to me. I find I would go from slouching to the edge of my seat, listening intently, as someone took the time to distil some of their thoughts about the week that has passed and bring them together into a coherent whole. To tell me a story or invite me to think differently. To teach or introduce me to something. Or just to comfort me with their words.


So it’s thrilling – and not a little terrifying – to be doing the same here this morning. My grandfather was a methodist minister and wrote sermons. So good was he that they made him tour the small rural churches of Suffolk. That sort of sounds like a punishment to me, but maybe not. Congregation size can’t be everything, surely.
Apparently, our family has kept all these sermons, and I’m fascinated to read them, to see what was on his mind and how he presented that on Sunday mornings to small congregations in Suffolk. I’m particularly intrigued because I’ve been on a bit of a rollercoaster journey this last couple of months. I recently started a year’s Fellowship, which is essentially the biggest, boldest, most mind-bogglingly exciting and, again, terrifying things I’ve ever done. And already, one of the things that has become apparent as I’ve reflected upon my myself, is that I find it difficult to speak as though others want to hear what I have to say. I put great value in enabling others to speak, to share the limelight. And I had thought this was one of my biggest strengths (which is probably is.). But, it is also a defence mechanism, a way of hiding in the shadows. And so when Rachel and Pete invited me to speak this morning, it wasn’t only the honour to be asked and my vanity that ensured I would accept: I knew immediately, that this would be an opportunity to practice trusting in my own words. Challenging myself, and learning.


But old habits die hard, and so I'm going to quote other people liberally! First up is Thomas Paine, famous son of Norfolk. In The Rights of Man he declares: ‘Independence is my happiness, my country is the world, and my religion is to do good.‘


These words have become my personal motto of sorts. And they seemed appropriate to share here today. For not only are we at the start of something, not only will many of us feel ourselves to be independent, global citizens committed to ideas of social justice, but it is also Remembrance Sunday, a day when we mark lives lost to war: present, recent, past, and ancient. And this Remembrance Sunday is particularly significant, marking as it does 100 years since the start of World War 1. The war that came to be known variously as The Great War. The War to End All Wars.


During the silence, I made sure I thought about the non-British soldiers and civilians who have been killed or had their lives negatively impacted by war. Of the way Britain has used war as a way of imposing its will on the world.


But this week I’ve also tried to imagine what those British soldiers might have been thinking and feeling 100 years ago. I imagine that as autumn turned to winter and the temperature began to drop, it might have been around this time that the early optimism began to fade and the realities of the war became apparent. All that nationalistic bombast that saw young men rushing to recruitment centres in the belief that they’d be home by Christmas might have started to seem a little hollower. Faced with the realities of a war like nothing that had been seen before, that gap between what had been imagined and what was being experienced must have felt as vast as the trenches stretching from the North Sea into the heart of Europe.


I’m not particularly imaginative when it comes to calling to mind the thoughts and feelings of other people; this is one of the reasons I love fiction. There is nothing I do in my life that so enables me to inhabit other skins and see the world through other eyes. It puts me inside the heads of other people, other lives, other cultures, other ways of thinking. It helps me see things differently, it makes me think differently, it complicates my point of view.


On that same trip to the Natural History Museum this week, our group also visited the Blood Swept Lands and Seas of Red installation at the Tower of London. It is a moving tribute to the 888, 246 British service men and women who lost their lives during the Great War, each of whom is represented by a single poppy until the moat is carpeted in red. It is visually spectacular and has captured the public desire to remember, and to be grateful. The crowds flocking to the Tower - so many that tube stations have been shut and £150,000 of extra staff brought in to shepherd them - have stood in silence to listen to the names of those soldiers read one by one. It is theatre meets art installation, meets public ceremony all at once. And there is something immensely powerful about it.


But I also feel uneasy about it. As Jonathan Jones recently wrote in The Guardian, 'In spite of the mention of blood in its title, this is a deeply aestheticised, prettified and toothless war memorial. It is all dignity and grace. There is a fake nobility to it, and this seems to be what the crowds have come for – to be raised up into a shared reverence for those heroes turned frozen flowers. What a lie. The First World War was not noble. War is not noble. A meaningful mass memorial to this horror would not be dignified or pretty. It would be gory, vile and terrible to see. The moat of the Tower should be filled with barbed wire and bones. That would mean something.'


I’m not sure I would criticise the installation for not being something different to what it is. That’s a horribly judgemental view the role of art criticism. But I love that Jonathan Jones was able to complicate our national thinking about the memorial. And he raises some valuable points about the way we remember war. It is notable, I think, to remember that in 1918 as the war came to an end, young men returning from the front got behind pacifism. There was a feeling of ‘never again’ across society, and many philosophers and thinkers took to championing the morality of peace and the utter monstrosity of war. It took a financial meltdown of unimaginable proportions, and the rise of a dictator bent on imposing his will on the world to break this determination for peace. And even then, before the fighting began, Neville Chamberlain returned from Munich waving a piece of paper proclaiming peace in our time.


Whatever our view of the morality of war and peace, we shouldn’t forget how those who lived through the war came to view it. Not as glorious and noble. But as Jonathan Jones suggests: as barbed wire and bones, tangled together in a vivid, real depiction of hell on earth.


There is a commentator I admire named Stanley Haeuerwas, who said recently that ‘war serves as the great event,...where we sacrifice the youth of the present generation to show that the sacrifices of the youth of the past generations were worthy. So war becomes the great ritual moral renewal of...society. Just think of all the language about sacrifice that is constantly used about the service people.’


War begets war. Pretending it is noble only makes future war easier to embark upon.


I am also reminded of the words of 91 year old World War 2 veteran Harry Leslie Smith, who, last year, wrote a piece in The Guardian declaring that 2013 would be the last time he would wear a poppy. That after nearly 60 years of remembrance to a war so horrific ‘no poet of journalist could describe’ it, he would now mourn the dead only in private. ‘Because,’ he wrote, ‘my despair is for those who live in this present world.’


Again, Harry has complicated the blood red waters. He has a particular perspective: that all the horrors of the second world war just might have been worth it given what followed: the creation of a new society built on principles of social justice and economic mobility for all. But that as that has been eroded over the last 40 years to its present paltry state, and that erosion has gone hand in hand with a ramping up of rhetoric and ceremony around war, he has been left to mourn what we have done to one of the greatest inventions of mankind. Something we have all lost.


It’s probably obvious! My natural stance is that no end is worth the blood and gore and waste and destruction of war. I am a pacifist. I don’t believe that any end justifies its means. Even if eternal peace were to be guaranteed by war, I would oppose that war on principal. Because I don’t really believe in ends. I mean, when does history ever end? What event doesn't leave ripples in all it touches? We can only live in the present, and do what feels right now. We live these means in everything we do, every day. For that reason above all others, I am a pacifist.


But reading Harry’s book this week has been challenging my default position. And I love this. And being challenged has got me thinking about all sorts of other things, one of which is what might be my favourite line from literature. This line isn’t a grand opening sentence or a wonderful conclusion, its not got the exquisite sadness of Gabriel Garcia Marquez’s opening line from Love in the Time of Cholera: ‘It was inevitable. The scent of bitter almonds always reminded him of the fate of unrequited love.’ And nor does it capture an entire book, as F Scott Fitzgerald does in the last line of The Great Gatsby: ‘And so we beat on, backs against the current, borne back ceaselessly into the past.’


No!, this is a mid-paragraph line towards to the beginning of JM Coetzee’s masterful novel Waiting for the Barbarians. In a tale about conscience and honour in a land where fear has replaced trust, our hero The Magistrate reflects somberly: 'I believe in peace. Perhaps even peace at any price.'


'I believe in peace. Perhaps even peace at any price.'


Why does this sentence so affect me? It isn’t just that it is a statement of the ultimate pacifism. There’s also something in there that is complicated. I got to exploring it.


I - It starts with a single letter. An I. A person. Vulnerable skin and easily spilt blood. A brain of synaptic flashes that create a consciousness that is so much more than electrical impulse. Could have been one of 888, 246, or the 187 million people that the historian Eric Hobsbawm estimates were caused by or associated with war in the Twentieth Century.


I love the first person narrative voice. The I. Bang, we’re in another person’s head. In Western society, this I is dominant. Look at our movies, our books, our cartoons. So many of them are about a simple concept: the triumph of the individual. The individual who is different and who ends up benefiting or saving her society through her very difference. I was in China a while ago, and I picked up a picture book. I didn’t know what it was called or what it was about, but being a picture book I could follow the story pretty easily. There was an antelope and she wanted to be a zebra. She dressed up in zebra stripes and painted her flanks like a bar code. Her elders told her not to, that it was drawing too much attention to the pack. But she did anyway. And when the lions attacked they went straight for the animal that stood out. It escaped narrowly - this was a children’s book - but the message was pretty clear. Difference is dangerous. The We, is everything, the I, nothing.


I was amazed at this vast difference between the two cultures. The West and the East .The ‘I’ and the ‘We’. Are they polar opposites? Isn’t love and sex about breaking down the barriers between one person and another, uniting physically and emotionally into something bigger than the I. And this gathering and all those religious gatherings happening every day around the world,  aren’t they about finding how we as individuals relate to something more than just ourselves. Shortening the distance between people. Broaching the ‘I’ and the ‘We’.


I guess I am a product of western society, for I do believe that no matter how much we wish to change the world, or help others, no matter how selfless our desires, we can only ever be one person. I is all the power we will ever have. And it is all the vulnerability we will ever need. We can do amazing things together, but we have to value that I, nurture it, challenge it. Only then can ‘I’ ever hope to become purposeful to the ‘we’... And if the we ever leads the I, beware.


And after the I we come to 'believe'. A Tricky word. Belief says a lot to some people, and is a wishy washy loose word to others. What excites me about it is the positivity. There is something slightly audacious about saying you believe something, especially when you don’t follow it up with any evidence. Sure, blind belief isn’t complicated. In fact, it’s really straight forward. But most belief isn’t blind: it is questioned, considered, and somehow emerges undimmed. When we assume less, we undervalue the rigor of our fellow man. I admire the person who, having thought about it, believes in a God just as utterly as I admire anyone. To me, and Arthur C Clarke, there’s very little difference between magic and science. At its heart belief is about wonder. I guess I believe in wonder. There is something wonderful to me about belief.


Going back to Harry Leslie Smith - might we have been able to build a the social conscious society without the destructive furnace of war? I hope so. I believe so. Yet history sometimes suggests otherwise. This complication saddens me. But I choose to believe inspite of it.


And what does our Magistrate believe in? Peace of course. Just like many people around the world. Probably the vast majority of us. But I’m intrigued by what this peace he believes in might actually be. I fear it isn’t as straight forward as it appears. Is the magistrate a moral pacifist? Or is he so scared of confrontation and change that he will do anything to retain his safe quiet life? Are they entirely different or two sides of a coin? Is The Magistrate embracing life when he says he believes in peace, or is he fleeing from it? We’ll come back to this in a minute for now that we reach the end of the first part of this quote, we come to the best word of the lot...


Perhaps. In those 7 letters lies the genius of this phrase. Uncertainty, exploration, learning, testing the waters. The Magistrate isn't sure, he doesn't know exactly what he thinks. He is human and he is uncertain. But he is brave too. He is willing to go out on a limb and express his belief, a belief that could make him vulnerable and slightly ridiculous. And having done this he is willing to take it even further, hesitantly, to stumble into something really profound. But he knows enough to know certainty is folly. My economics teacher once tought me that the answer to every question should be: ‘it depends,’ and perhaps the beginning of every statement should be, ‘perhaps.’


Perhaps complicates. Even extends. Like belief, 'even' takes us further into something improbable. It signposts us that something dramatic might be about to be said. And it is well used here. And with Peace we have the repetition of that keyword, driving the importance of it home. And in Any we have further extension. The word any is like having a breakdown in the trenches and being sentenced to death for cowardice, then spreading your arms wide and bearing your chest against the firing squad. Relatively pointless, but symbolic nonetheless.


And we come to our last word: Price. And our theme for today: What price peace? For the magistrate in this book, the answer is ‘any’. His refusal to fight costs him everything. Everything but his principles, anyway. And true to his word, he pays it if not willingly, then with a stoic sense of necessity. In the ensuing battle with this faceless state, he is crushed. Tortured, shamed, displaced. And his peace is replaced by a fear of imminent war.
But when the forces leave, the Magistrate and the people remain. And they endure. And by the end of the book, war has not yet arrived. They are still waiting for the barbarians. Waiting...


Might peace be defined as the absence of war just as some medical professionals define health as the absence of ill-health? Perhaps semantically not, in that the word war is so much more specific that the term ill-health. But is avoiding war a triumph for pacifism, in and of itself? I think the answer to that might possibly be yes. Peace often necessitates the courage to wait and to endure.


But waiting isn’t the same as not acting. Hauerwas again:
‘Commitment to nonviolence does not require withrdrawal from the world and the world’s violence. Rather, it requires [us] to be in the world with an enthusiasm that cannot be defeated, for she knows that the power of war is not easily broken...For what creates new opportunities is being a kind a people who have been freed from the assumption that war is our fate.’


Perhaps it takes the grim, vile, ugly realities of war to help us break this cycle of sacrifice and ritual. The casting off of red poppies. The filling of moats with bones and barbed wire. Let us all take the briefest of moments to be silent again, to extend our commemoration of those killed in wars and to think about all the times peace has been curtailed by war, and what it will take to hold onto it this time, or next time.


Perhaps the question 'what price peace?' is a trick one. After all, we can never make a transaction that gives x in return for peace. There is no end of peace. We can only live our lives each day in a way that feels right. For me that means a way that does no harm...or as little as is possible in this complex world. I like to think I would do anything for peace, but if I’m being totally honest, the price I have paid until today is virtually zero. I am a man of words but few actions. I put posters in my window and talked incessantly about the folly of invading Iraq and the War on Terror, yet I didn't even join the anti-Iraq marches – like the Magistrate I was too busy looking after my own personal peace to join with a hoard of others and demand peace. I fear I would rather close the door and read. Or at least that is what my behaviour says. I don't like this about myself. It is embarrassing to admit. It is one of the personal challenges I wish to overcome.


But there are other challenges we all face: peace and war being two big ones. And smaller ones: what words to use and which not to; how to tell our own stories so that others will listen and hear them; how to turn words into actions, breaking down those barriers between you and me, your skin and my bones and our individual electrical flashes. There are some challenges we should embrace: the importance of pushing yourself, learning, and being brave, accepting own limitations and failings but not letting them stop us doing good.


And if we do anything, it must be to build new cathedrals to those things that matter: love and peace and learning and friendship and belief and complication and words and actions and individual autonomy and collectivity. To build on what already exists. To create, to create, to create.


I hope this Sunday Assembly will be that. For all of us.


Individually, together.

Friday, 22 February 2013

Book Review: Gone to the Forest by Katie Kitamura


‘The country was in turmoil. And there was besides: sickness and growing and dying. How could they do anything but give in, to what was obvious, rather than what was good? In the face of that accumulation.’

Katie Kitamura’s debut novel, The Longshot, was one of the unexpected delights that come along only too rarely. The story of the final fight by a not-quite brilliant Mixed Martial Arts fighter, it managed to recreate the computer game feeling of having an opponent reach into my chest, pluck my heart out, and holding it aloft, gently squeezing it, from first sentence to final image. It revealed Kitamura as a brilliant writer in her own right; and an air to the minimalist legacy of Hemingway, McCarthy and Coertzee.

Gone to the Forest (The Clerkenwell Press, 2013) confirms such comparisons as entirely appropriate. With sharp, slashing prose and perfectly balanced storytelling, Kitamura explores the death throes of colonialism in a nameless nation.

Tom and his father live on a large rural farm. Ever since he came to the country, the old man has bent everything to him. His unremitting desire, big personality, and ruthless control ensure the farm has been successful, all those around him reliant on him for their safe orbit. But now disruption and native rebellion in the country threatens all he has built, and ill health begins to catch up with him. Tom, cowering in his father’s shadow, has eyes only for the land. It is all he has known. Other farmers circle, danger looms. And when a woman named Carine arrives, the future – whatever it holds – begins to bear down upon them.

In a chapter of pounding intensity, Kitamura brings these man-made tensions together in the midst of a massive volcanic eruption. Fire and brimstone filling the sky. Blocking out the sun. Then covering the land in ash that falls relentlessly. Sending animals wild and driving people to recklessness. It’s a powerful metaphor, the earth purging itself of colonial rule. The cataclysm that births a new age. Identities are questioned, relationships strained.

There’s much Coetzee here, a sort of mix of the wild frontiers of Waiting for the Barbarians and the search for peace away from troubled times of Life and Times ofMichael K. What is particularly clever is the way that Kitamura subtly questions notions of affinity with a landscape. Where much literature associates native peoples with affinity for the land, here it the character of Tom – slow, passive, uncertain; Michael K with privilege – who longs for nothing other than to escape people and live in peace with the landscape. But he is less resourceful than Michael K. Where Coetzee’s character bends a spoon to a natural well and drinks a thimble full at a time – ‘in that way, one can live’ – one does not have the feeling Tom would survive long. And his father’s health is rapidly failing.

On the other hand, the natives here ‘do not believe in property until it is theirs’, at which point they subject it entirely to their will. Cut it up into little pieces. This is the story of the colonialists, but that is not to say that this is a pro-colonial book. It is not pro-anything. Merely presents a series of characters in a fresh light, and the tragedies of upheaval.

Gone to the Forest is a tense, expertly controlled novel. One to read in one sitting. It is short, and the prose races along at a pace not even change can keep up with. Katie Kitamura is one of the most exciting voices in contemporary writing, and this is a marvellous addition to the already heaving realms of colonial/post colonial literature. If writers made swords, Kitamura would be the sort fabled in a Tarantino film. You will not find sharper, finer minimalist prose anywhere. 

Tuesday, 30 August 2011

Book Review: The Absolutist by John Boyne


The Magistrate, protagonist of JM Coetzee’s finest novel, Waiting for the Barbarians, is one of my favourite characters in literature. Idealistic, yet in an untested sort of way, solitary and in search of a peaceful, easy life, he reminds me a little bit of me. He is a flawed character forced by circumstance into an act of quixotic rebellion for which he pays a high price. But it is his idealism that I return to time and time again. Early on, almost guiltily and without embellishment or drama, he offers a statement that increasingly resonates with me. “I believe in peace, perhaps even peace at any price.”

Many in this world believe in peace as an ultimate aim. But peace at any price? Peace is a means as well as an end? Peace if it costs you everything? It is this idea, that physical force is never in our long term interests, either as individuals or humanity as a whole, that forms the backdrop of John Boyne’s seventh novel, The Absolutist. It is an emotionally caustic and visceral exploration of the extreme actions to which war drives people, and an intimate portrayal of the lives these actions leave behind.

The novel opens as Tristan Sadler, damaged by war and with a guilty secret gnawing away at him, travels from London to Norwich to return some letters to Marian Bancroft, the sister of one of the men he fought alongside in the trenches. Will was Tristan’s best friend, but in 1917 he laid down his guns and declared himself an Absolutist – one not willing to play any part in the war effort -, and was shot as a deserter. As Tristan and Marian walk the streets of Norwich, seeking solace and understanding in each other, they discuss post-war England, their struggles, and the opportunities beginning to appear. Interspersed with this narrative, we relive Tristan’s experiences of the war, first at Aldershot Military Barracks, then the trenches of Northern France. The plot alternates between these two times, from one emotionally taut situation to another, with little to break the sombre mood.

That said, the narrative is led by dialogue and this, combined with the first person confessional style makes for a smooth read. There is an old fashioned feel to the formal language the characters use, and like a Beryl Bainbridge novel, one feels carried along with what happens even while not quite understanding how one has been so ensnared. It is well paced and there is always a sense of moving forward, of characters and situations unraveling towards something significant.

Tristan is a complex and sympathetic narrator: kicked out and ostracised by his father following an unfortunate incident aged sixteen, he joins the army a year later, already hardened by disappointments of life, and moves through the war as though in a daze, unable to believe his life is meant for anything else. This is starkly at odds with Will who, despite being the same age, seems younger, more innocent, and who responds with passion and fury to every situation. He’s a pacifist but a fighter for it, Tristan can’t see anything worth fighting for, except maybe that innate desire to preserve one’s own life. As Will says at one point: the irony is “that I am to be short as a coward while you get to live as one.”

The fact is, neither is a coward. One shows bravery and conviction of belief, the other at times seems brave simply to have got that far in life. Tristan’s homosexuality is a key theme, and one feels the difficulties that this causes Tristan, the sidelining effect it has on him. The Absolutist is certainly not the first book to feature homosexuality between serving soldiers, though it is more understated here than in Pat Barker’s Regeneration trilogy. Tristan’s narrative cuts away before intercourse takes place, reflecting perhaps the shame that society has nurtured in him over his young life. It is hard not to be moved by Tristan’s struggles; he is a tragic character, but one who faces his struggles with a stiff upper lip.

It would be easy to accuse John Boyne of wearing his heart too proudly on his sleeve, or that his direct approach to the subject is a little in your face. Personally I found this clarity of purpose refreshing and made it a rewarding read. The debate around pacifism is handled capably, with both sides explored and no sense of preaching one view or the other. There is a sense that perhaps his presentation of war adds little to our understanding thereof, but then it is difficult to be fresh on such a well explored subject. And because it is so intimately told, The Absolutist enables the reader to experience the war and post-war through one character’s eyes, and do so in an embodied way.

Many writers have meditated on the collision between conscientious individuals and monolithic regimes. Kafka did it in The Trial, Camus in The Outsider, Orwell in Nineteen Eighty-Four, Huxley in Brave New World, and the list goes on and on. If there is an identifiable twentieth century literary concern then it is probably this. However, despite there being a period in the aftermath of the industrial slaughter of World War One, where pacifism was widely popular, relatively little has been written about the conflict between individual conscience and conscription. Few records exist of conscripted soldiers turned conscientious objectors or Absolutists, few novels have featured them. Yet their treatment – usually execution as deserters – remains one of the many unobserved tragedies of the Great War. Names are still not permitted on memorials of the War dead, for instance. In this way The Absolutist both stands alongside the greats of twentieth century literature, and opens up another dimension to their concerns.

I was always likely to respond favourably to The Absolutist. I am incontinently idealistic when it comes to pacifism –I believe it above all else – and the Norwich setting is prominent and recognisable to all who know the city. Among the places we visit are Tombland, the Cathedral, Prince of Wales Road, Timber Hill, and The Murderers pub. The ubiquitous Norwich conversation about the insufferable frustrations of the London to Norwich train makes an appearance too. Interestingly though, these familiar details also allow the partial Norwich setting to be incidental, a mere backdrop to the dramatic and horrific events in the trenches where themes of loyalty, bravery and friendship dominate and the daily battles are against lice, rats and liquid mud as much as the German trenches.

The Absolutist is a tender and engaging novel. It is fraught with tension and tragedy but told in such a clear voice that it is a pleasurable read, and one that will remain with readers for a long time.

The Absolutist was published by Doubleday in May 2011. ISBN: 978035616041

Friday, 26 February 2010

Book Review: Waiting for the Barbarians - J.M. Coetzee


To celebrate the 200th review on Books, Time, and Silence, I will be re-posting 10 of my favourite reviews. 

On day four I revisit J.M. Coetzee's masterpiece, Waiting for the Barbarians
.


Read: April 2008
Waiting for the Barbarians in one tweet-sized chunk:
Waiting for the Barbarians is the clearest enunciation of Coetzee's primary concern: individual shame for collective crimes.

 


“‘When some men suffer unjustly...it is the fate of those who witness their suffering to suffer the shame of it.”

Set in the harsh, desolate frontier lands of a nameless Empire in a timeless age,
Waiting for the Barbarians is a sparse, allegorical novel, devastatingly powerful in its depiction of one mans complicity in barbaric acts of so called ‘civilisation’. It is the clearest enunciation of the concerns which run through much of Coetzee's fiction: independent thought in the face of a single public conscience, the surprising involvement of the outsider,  moral conviction, peace. It is a beautiful and powerful book; probably my favourite of all his works.
For years the Magistrate has presided over the affairs of a small, peaceful frontier fort, collecting rents, settling petty disputes, and excavating the ruins of fallen towns, unconcerned about rumours of an impending war with the Barbarians. But when interrogators from the shadowy Third Bureau arrive it seems they are intent on turning his peaceful harmony into a raging battlefield. And following a case of barbaric torture, the Magistrate is jolted from his comfortable complicity into an act of quixotic rebellion and he begins to learn just how lonely martyrdom can be.

Waiting for the Barbarians sees Coetzee tackling big issues: complacency and complicity in the face of barbarism, the boundary between freedom and incarceration, and the devastation war inflicts on both our psyches and ways of life. It is too easy to say it is an allegory for apartheid in South Africa - though undoubtedly it is – for Coetzee’s real success is in expanding theses small particulars, to a general treatise on human nature and the social systems we build to, supposedly, protect ourselves from the barbarian outsiders.

Many writers have meditated on the collision between conscientious individuals and harsh, repressive regimes. Kafka did it in
The Trial, Camus in The Outsider, Orwell in Nineteen Eighty-Four, Huxley in Brave New World, and the list goes on and on. If there is a twentieth century literary concern this is probably it. But Coetzee takes it that stage further than others, to analyse the complicity of the Magistrate himself, to question the arrogance of one man standing righteous against the tide of popular opinion, the pointlessness of it all. Coetzee doesn’t merely make his Magistrate a victim of the bureaucracy, but he is complicit within it, and knows even as he fights back that he is just doing so to cleanse his own narcissistic guilt. He is by no means a shining white night of freedom but a flawed person just trying to live his life in his own way.

Furthermore, the sense of place Coetzee creates is exquisite: the vast, empty wilderness a bleak uncompromising landscape looming ominously over the entire novel. The nomadic austerity of life in that wasteland strikes a chord with the barren emotional prospects of its central character. It is evocative of Doris Lessing’s
Mara and Dan, an untamed world, shorn of romantic connotations, a greater threat to the lives of man than ever the Barbarians could be.

You don’t read Coetzee to enjoy a stroll through the park, you read Coetzee because, perhaps more than any other modern novelist, he knows what it is to be human, and he is able to convey it all so simply, in so few words that it leaves you stumped. You shake your head regularly, unsure whether you love or hate the characters, uncertain how such stripped down life can be portrayed so beautifully. Because above all else, Coetzee is a beautiful writer, his prose flows from pen to paper to reader invisibly, reads so smoothly you barely realise what an accomplishment it is. And he presents his situations starkly, vividly, but with an equanimity and reluctance that leaves you devastated. The scarcity of the prose, the barren landscape of possibility, the simple power of his storytelling, each of these is exquisite.


This is a very, very great novel. And despite everything it carries no message, save perhaps a call for recalcitrance in the face of force. As the Magistrate says: 

“I believe in peace, perhaps even peace at any price.”

You know what? I think I agree with him.

9 out of 10

Friday, 10 April 2009

Waiting for the Barbarians - J.M. Coetzee


Read: April 2008

“‘When some men suffer unjustly,’ I said to myself, ‘it is the fate of those who witness their suffering to suffer the shame of it.”

Set in the harsh, desolate frontier lands of a nameless Empire in a timeless age, Waiting for the Barbarians is a sparse, allegorical novel, devastatingly powerful in its depiction of one mans complicity in barbaric acts of so called ‘civilisation’.

For years the Magistrate has presided over the affairs of a small, peaceful frontier fort, collecting rents, settling petty disputes, and excavating the ruins of fallen towns, unconcerned about rumours of an impending war with the Barbarians. But when interrogators from the shadowy Third Bureau arrive it seems they are intent on turning his peaceful harmony into a raging battlefield. Following a case of barbaric torture, the Magistrate is jolted from his comfortable complicity into an act of quixotic rebellion for which he is imprisoned under charges of treason and he begins to learn just how lonely being a martyr can be.

Waiting for the Barbarians
sees Coetzee tackling big issues: complacency and complicity in the face of barbarism, the boundary between freedom and incarceration, and the devastation war inflicts on both our psyches and ways of life. It is too easy to say it is an allegory for apartheid in South Africa - though undoubtedly it is – for Coetzee’s real success is in expanding theses small particulars, to a general treatise on human nature.

Many writers have meditated on the collision between conscientious individuals and harsh, repressive regimes. Kafka did it in The Trial, Camus in The Outsider, Orwell in Nineteen Eighty-Four, Huzley in Brave New World, and the list goes on and on. If there is a twentieth century literary concern this is probably it. But Coetzee takes it that stage further than others, to analyse the complicity of the Magistrate himself, to question the arrogance of one man standing righteous against the tide of popular opinion, the pointlessness of it all. Coetzee doesn’t merely make his Magistrate a victim of the bureaucracy, but he is complicit within it, and knows even as he fights back that he is just doing so to cleanse his own narcissistic guilt. He is by no means a shining white night of freedom but a flawed person just trying to live his life in his own way.

Furthermore, the sense of place Coetzee creates is exquisite: the vast, empty wilderness a bleak uncompromising landscape looming ominously over the entire novel. The nomadic austerity of life in that wasteland strikes a chord with the barren emotional prospects of its central character. It is evocative of Doris Lessing’s Mara and Dan, an untamed world, shorn of romantic connotations, a greater threat to the lives of man than ever the Barbarians could be.

You don’t read Coetzee to enjoy a stroll through the park, you read Coetzee because, perhaps more than any other modern novelist, he knows what it is to be human, and he is able to convey it all so simply, in so few words that it leaves you stumped. You shake your head regularly, unsure whether you love or hate the characters, uncertain how such stripped down life can be portrayed so beautifully. Because above all else, Coetzee is a beautiful writer, his prose flows from pen to paper to reader invisibly, reads so smoothly you barely realise what an accomplishment it is. And he presents his situations starkly, vividly, but with an equanimity and reluctance that leaves you devastated. The scarcity of the prose, the barren landscape of possibility, the simple power of his storytelling, each of these is exquisite.

This is a very, very great novel. And despite everything it carries no message, save perhaps a call for recalcitrance in the face of force. As the Magistrate says, before any of the tragic events take place,

“I believe in peace, perhaps even peace at any price.”


You know what? I think I agree with him.


8.5 out of 10