Category Archives: Culture

Thoughts about culture; arts, music, writing, sculpture, photography and more.

Heart of Darkness


Heart of DarknessHeart of Darkness can be a difficult read. Not just for its brooding setting and the sense of morbid inevitability. Conrad’s semi-autobiographical 1899 novel is replete with racism and breezy colonialism: the insufferable superiority of white, Western culture. The casual ability of so-called civilized men to commit savagery in the name of some higher cause is clearly expressed; a forerunner to the brutality of two world wars.

Listening to it as an audiobook, yesterday, as I drove again to Toronto, I almost flinched every time the reader pronounced the “N” word. No amount of rationalization about the times and the era made it less uncomfortable, less offensive.*

Yet once you have touched the sticky web of Conrad’s story, you find it hard to pull away. You are drawn inexorably inward, along the journey. So you listen (or read on), and realize the layers and the complexities he wove into the tale. It seems so simple at first, a mere nautical tale shared among friends, but it builds in layers and texture. His sometimes subtle, sometimes pointed criticisms of the politics and the imperialism. His observations, his piercing eye into human behaviour; his acidic comments on the nature of civilization. All, of course, expressed during the infinitely slow progress to find the mysterious Kurtz.

I can’t remember when I first read Heart of Darkness. Sometime in the 1970s, I think, around the time I was reading Chinua Achebe’s Things Fall Apart. Achebe’s book is set in the same period as Conrad’s and might be considered a counterpoint: the evils of colonialism described from the native perspective. Achebe himself despised Heart of Darkness, calling it “deplorable.” Yet his 1975 criticism sparked renewed scholarly interest in the book. It was reprinted in mass-market paperback (my copy, printed together with Conrad’s Secret Sharer, is dated 1978).

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Falling Skies: Aliens as Metaphor


Falling SkiesWe watched the last of Season Two of the Falling Skies series last night. After a bit of research this morning, I learned I have two more seasons to watch and a fifth season has been scheduled. Something to look forward to. I wasn’t sure about how it would turn out, but the series has matured nicely, although one can’t say that about its politics.

If you’re not familiar with the series, it’s about American reaction to an alien invasion – one could say it is a drawn-out remake of War of the Worlds. The aliens, of course, have more advanced weaponry and technology and aim at world domination. And enslavement of the human race along the way. Falling Skies spices up the mix with a rich back story about the aliens I won’t spoil here. But at least by the end of Season Two, there’s no indication that anyone else on the planet has survived and formed a resistance. It’s solely an American underground.  One bridles at that.

My first impression was that it was Walking Dead with aliens instead of zombies. I personally didn’t care much for the Walking Dead series and didn’t manage to watch even the whole first season. But, as a scifi buff, Falling Skies caught and held my attention.*

The ostensible premise is straight out of H.G. Wells: high-tech aliens invade, destroy much of the planet’s civilization and infrastructure, and pockets of humans fight back. But there’s more to it.

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A Few More Uke Arrangements


Lately, I’ve been redoing all the arrangements of songs I put together for the Collingwood Public Library Ukulele Group (CPLUG) this year, as well as arranging some new pieces for the group. I’m working on a new layout for the tunes that makes them easier for beginners to follow and makes the songbook somewhat easier to manage.

I’ve zipped a few of the most recent tunes (in PDF) here: Dec 2014.zip. As I often do, I offer some of the songs in alternate keys. You can always transpose any song yourself, with the help of my free chord transposition wheel.

This zipped file includes:

  • Mr Bojangles (F)
  • Till There Was You (C and D)
  • I’m So Lonesome I could Cry (F and G)
  • Just a Gigolo/I Ain’t Got Nobody (G)
  • Paint it Black (Dm)
  • St. James Infirmary Blues (Dm)
  • Tower of Song (G and F)
  • Always Look on the Bright Side of Life (G & F) added Dec 18
  • That’s Amore in G (added Dec 19)

Vorson ukuleleHope you enjoy them. Please let me know if you find any problems or mistakes with the files. I’ll post a link when I have the older songbooks complete.  Have a great holiday season and keep practicing!

PS. These are only the songs I’ve arranged recently, not all the songs from other groups and arrangers I’ve shared with the CPLUG members in the past or any of the Christmas music. And I’m working on a version of That’s Amore to send out to members before the New Year.

And for those who read my ukulele reviews, I will have a new review coming soon: the Vorson steel-stringed electric uke, see in the photo on the right. it’s an interesting instrument and not very expensive.

Finally: interested in owning a very rare, all-metal, tenor resonator guitar? One of only 12 made by Mike Soares. Sale or trade. Contact me…

Gravity: A Review


gravity
While watching director Alfonso Cuarón’s film, Gravity, this weekend, I was struck by how powerful the mixed themes of isolation and survival can be. I was reminded not simply of films – Tom Hanks in Castaway came to mind immediately – but in literature, too; from Robinson Crusoe to Blindness. Stories of survival have captivated humankind since the Gilgamesh epic was scratched into clay tablets by an anonymous Sumerian scribe.

I really enjoyed Gravity for several reasons and highly recommend it.

First it’s a science fiction film and scifi is my favourite genre of movies. And it’s a good, well-done, high-quality production, not the usual cheesy B-flicks I consume. This one is visually stunning, especially on Blu-Ray. And the sound is gorgeous too – watch the extras about how the sound was developed. Fascinating.

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Julius Caesar: Best of the Bard?


Julius CaesarFor my money, Julius Caesar is simply Billy Shakespeare’s best ever play. I mean, what’s not to like in it? It has some stonking great speeches in it – including one of his top five ever (Marc Antony’s “Friends, Romans, countrymen….”) as well as a passel of memorable lines you can quote at parties (Who among my readers hasn’t passed off a quick “Cry havoc, and let slip the dogs of war…” just for effect?).

Plus it has a conspiracy, a murder, a riot, a battle, and a couple of suicides to gussy up the action. Treachery, betrayal, loyalty, raw ambition, backstabbing, front-stabbing, ghosts… really: what’s not to like?

It’s short and brisk, so it can be read in an evening and the plot followed easily enough, even by a non-academic. It’s bereft of the knotty love-action that makes you scratch your head and wonder which twin is onstage and why. WS eschewed his usual love for complicated metaphors, and hidden meanings when writing it, so almost anyone can understand it.

And on top of that, it’s all about politics and Billy the Bard was in his best game when writing about politics. Like I said, what’s not to like?

And then there’s the whole mess of subtext about manliness and masculinity, about friendship and loyalty, about power, about the conflict between reason and passion, about the nature of the state and the greater good, and whether it’s okay to kill someone for a Big Reason like saving the republic.

Like every other Shakespearean play, it’s about the complexity of being human and interacting with other conflicted humans. The issues, the insights, the internal tug-of-war over ethics and morals, the passions and lusts – they were the same in his day as they are in ours, and he makes them accessible by weaving them into great stories. That’s why the Bard is still so relevant today.

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The Three Godzillas: Size Matters


Godzilla posterThis year another remake of Godzilla was released, and of course I had to get a copy. I have many of the other Godzilla films made over the past 60 years, sadly not all of them. There were so many monster movies made in Japan through the 1950s and 60s that it’s hard to keep track of them all, let alone collect them. B-films, all of them, and still entertaining if you can find them.

(If I recall it properly, I first watched the original Godzilla in the late 1950s at a drive-in theatre, sitting with my parents in the front seat of the car, with the speaker hanging inside on the driver’s side window; but I also saw it on TV in the late 50s-early 60s and several times on TV and DVD since)

Even the eight-disc Godzilla Collection only has eight of the films: Gojira, Godzilla Raids Again, Mothra vs. Godzilla (aka Godzilla vs. the Thing), Ghidorah, the Three-Headed Monster, Invasion of Astro-Monster (aka Godzilla Vs. Monster Zero), All Monsters Attack (aka Godzilla’s Revenge) and Terror of Mechagodzilla.

Why I say it’s hard to know if you own or have seen them all is twofold. First, there were so many it’s hard to keep track of them all (and I don’t even know if they have all been released in North America on DVD). Second, several titles were renamed (and sometimes more than once) for their NAm release, so you can’t be sure what you’ve got until you watch them. Some are sold as single titles, others only in multi-film collections.

After the first film in 1954, there followed a slew of monster movies in which Godzilla took on a whole collection of monsters like Mothra and Ghidorah. Here are some of the film titles: Godzilla Vs Biollante, Godzilla Vs King Ghidorah, Godzilla 2000, Godzilla Vs Mechagodzilla II, Godzilla vs. SpaceGodzilla, Godzilla Vs. Megalon, Godzilla Vs Destoroyah, Godzilla Vs Megaguirus, Godzilla Against Mechagodzilla, King Kong Vs. Godzilla, Godzilla and Mothra: The Battle for Earth, Destroy All Monsters, Godzilla Vs. Hedorah, Godzilla Vs. Gigan, Godzilla on Monster Island, The Return of Godzilla, Godzilla Vs. the Sea Monster, All Monsters Attack (aka Godzilla’s Revenge), Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack, Godzilla 2000 (aka Godzilla Millennium), Ebirah, Horror Of The Deep (aka Godzilla vs The Seat Monster) and Godzilla vs the Smog Monster.

Plus there were spinoff series for the Gamera, Mothra and Rodan monsters in which Godzilla usually did not appear. I don’t know about you, but I want them all.

Godzilla moved between villain and hero at various times, too, defending the world and attacking it in different films, fighting other monsters and allying with them. The Godzilla franchise is huge (31 films according to this list) and that doesn’t even include the animated series. The list at the bottom of the Godzilla Wiki site includes video game appearances, books and comics.

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Poems That Make You Cry


Poems That Make Grown Men CryI cannot read Dylan Thomas’ poem,Do not go gentle into that good night‘ without a lump in my throat. I read it at my father’s funeral, several years ago, so for me it has a personal context that retains its emotional impact. Many poems move me or touch my heartstrings, however, that have no such personal context, although I cannot recall the last time one moved me to tears.

When I got Anthony and Ben Holden’s book, “Poems That Make Grown Men Cry: 100 Men on the Words That Move Them,” I expected to be deeply and powerfully moved by the poems in it. Yet for the most part, I wasn’t. I read through it, then put the book down. I thought, perhaps it was my mood at the time. This week I re-read it. The result was the same: much of the poetry had little or no emotional effect for me.

Most of it, I thought, was very good poetry: skillfully written, beautifully crafted, stuff that made me pause and think. But not cry. In fact, most of it elicited an intellectual rather than an emotional reaction. That isn’t a bad thing, just not what I expected from a book with that title. I want poetry to slip past my thinking brain and tweak the organs that send a chemical rush of emotions through me. I want to feel a poem raise the hairs on my arm or a lump in my throat before I start to analyse the words.

The Holdens begin each poem with a piece by the man (or in a few cases where more than one chose the same piece, men) who explains why he chose the particular poem. Then the chapter ends with a brief biography of the chooser(s), so the reader can frame his or her appreciation of the poem in some context. This really helps in some cases, but not all. (As for why just men: read their introduction).

For example, the Japanese hokku (a brief poem, later renamed as haiku) by Fukuda Chiyo-Ni and chose for the collection by Boris Akunin:

Dragonfly catcher
Where today
have you gone?

As Akunin writes, it seems either mysterious or banal, but once you learn that the author wrote it after she lost her little son, it becomes deeply poignant. You can read more of her work here.

But as David Orr wrote in his book, Beautiful & Pointless: A Guide to Modern Poetry, poetry – and books about poetry  – has a limited audience today:

…the potential audience for a book about poetry nowadays consists of two mutually uncomprehending factions: the poets, for whom poetry is a matter of casual, day-to-day conversation; and the rest of the world, for whom it’s a subject of at best mild and confused interest.

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