Audio – My Own RE:public

Keeping the dream alive

Today is the 60th anniversary of the March on Washington (for Jobs and Freedom). The extraordinary visuals and atmospherics of that hot summer day, now long ago, in the nation’s capital – the warmth emanating from that place and the crowds that filled it, the affirmation to a faith that had sustained, the richness of words and music reaching its crescendo in the “I have a dream” speech delivered by Dr. Martin Luther King (Jr.) before the Lincoln Memorial – are the stuff of which legends are made. In the air was hope rather than despair, a promise of better days. A dream for all ages.

Dr. Martin Luther King, Jr.’s “I Have a Dream” speech, delivered on Aug. 28, 1963, on the steps of the Lincoln Memorial.

What remains all these years on? The sonorous tones of Dr. King and Mahalia Jackson, imbued with the words and music according to any Gospel, soar today as then, but humanity without hope is a humanity not fulfilling its promise, and for many peoples, in all corners of the world, that is the reality. On this day to recognize that that reality still applies to many Black people living in the most powerful nation on the earth can fill one only with anger – and it especially must do so for just those people; for they the descendants in spirit of the multitudes who would have left Washington that day sixty years ago infused with Dr. King’s dreams, his lyrical words ringing in their ears. It is the legacy of each generation to embrace the spirit of that day and, in each, in their own way keep those dreams alive.

That, a lesson in positivity, now …

The year after the march, the Civil Rights Act (1964) was signed into law, but in 1967 Martin Luther King, Jr.’s dreams seemed as far from fulfillment as ever, impelling him to deliver the below embedded speech at Stanford University – sometimes titled “The Other America”. Startling, to me, is the extent to which King’s disillusionment has grown in the passing of so few years. No longer does he feel convinced that alone the good will and essential kindness of many will win over the day, rather that the few (or just as many) are embedded so deep in the power structures and institutions of the nation that a more radical approach is demanded. Eloquently he deconstructs the so-called “white backlash”; as if it describes some kind of reasonable reaction to the realignment of society brought about by civil rights and the accompanying activism (and militantism) when it was, in fact, a response triggered by inherent racial animosity.

Martin Luther King, Jr. at Stanford University on April 14, 1967

“I Have a Dream” is beautiful. Tragically, “The Other America” is closer to the reality. A year later on April 4, 1968, Martin Luther King, Jr. was assassinated in Memphis, Tennessee.

Reith Lectures

As this BBC centenary year draws to a close, the Reith Lectures (inaugurated in 1948 and delivered by Bertrand Russell) remain a last highlight in an extraordinary year in broadcasting. Already recorded at different venues and before an audience, and with the first in the series airing this week on Radio 4, the lectures have in the past been (mostly always?) delivered by one person. This time, however, entitled The Four Freedoms – of Speech, of Worship, from Want and from Fear – the lectures are given by four individuals over four weeks: Chimamanda Ngozi Adichie, Rowan Williams, Darren McGarvey and Fiona Hill. The first two of these I am very well familiar with indeed – Adichie through her wonderful writing and her presence in the public forum and Williams as an Archbishop of Canterbury who may have left office but has not shied from public debate. McGarvey, is a young man who has fleetingly come to my attention in very recent times – not for the rapping (Loki) but for his generous and insightful exploration of the working class experience and poverty in Britain and Fiona Hill burst onto my radar a few years ago when she seriously came to blows with Trump and since has become an oft heard voice of expertise and clarity in respect to the global rise of autocratic and even fascist tendencies, Russian aggression and their war upon the Ukraine, and all the ensuing disruptions in foreign policy.

The contrarian side of my nature must emphatically state the obvious that the idea behind this series is far from original; steeped in 20th century American mythology, inspired as it is by Franklin D. Roosevelt’s 1941 State of the Union speech. Delivered while war was raging in Europe and tensions rising in the Pacific, the speech focused on America’s national security interests and the threats to democracy being posed from within and beyond its borders, and indeed, by years end Pearl Harbor would be attacked and the United States would be at war. However noble Roosevelt’s words, the sentiments expressed remain just that – sentiments preached from the high western perch of possibilities. And the society he was speaking to or, at least, the segment for which he was interested, was another – best represented in Norman Rockwell’s 1943 depictions below in which these “four freedoms” apparently applied only to a very white, ‘conservative’ America. I can’t help wonder just a little that the BBC were unable to find inspiration a little closer to home.

Enough diversion – the four voices to be heard this year will hopefully catapult us into the here and now! First up on Wednesday, and the one I most look forward to, is Chimamanda Ngozi Adichie speaking on Freedom of Speech. In The Guardian today there is a sort of interview and a bit of a taster; also reminding me of her first appearance on the “world stage” so to speak in a TED Talk way back in 2009 (!) – 18 minutes … and 32 million odd views I now see! – that I revisit gladly below.

The danger of a single story – Chimamanda Ngozi Adichie • TEDGlobal 2009

Modern Reading

Whether over lunch, or in the midst of bedtime ritual, beginning tomorrow and for ten consecutive weekdays (Jan 24 – Feb 4), BBC Radio 4 presents a reading of Mrs. Dalloway; embedded within what the BBC calls a “celebration of the birth of Modernism a hundred years ago”. Here, the reference is to literary Modernism and the publication of James Joyce’s Ulysses in 1922 (and Eliot’s The Waste Land). Virginia Woolf’s ‘one day’ novel was published three years later, but fits very well in the modernist tradition – and may justifiably be considered (by the broadcaster) more readable (and listenable) than Joyce’s epic work; dense as it is in allusion and parody.

Start the Week tomorrow morning (with Kirsty Wark – the third presenter in three weeks – and I am still getting used to NOT starting the week with Andrew Marr!) starts the season with a discussion that broadens the scope of modernism beyond the literary – into the visual arts, music and the public space. One of the guests is Matthew Sweet whose ten part series 1922: The Birth of Now also begins tomorrow (through to Feb 4). [BBC is quite generous, and most of these links should remain live for some time.]

Presumably, there is more in store across the BBC but I can’t find the theme centrally organized (generally this is a problem with Sounds – and I know I’m not alone in this opinion!). I actually only became aware of an upcoming “Modernism” project through a passing reference on Feedback at the end of last year and was reminded with a programming note on Open Book last week. That episode, by the way, is all about Ulysses, and listening to the very interesting participants has motivated me to consider (and not for the first time, and as an important condition) diving in. Given this interest of mine in the modernists, and my interest in their interest in the ancients, I shouldn’t need to be pushed (one would think), and rather have been tempted to jump in long ago. Or do I have an insurmountable interest conflict?

Anyway, I have at least tracked down a very good digital version of Ulysses, and there is no shortage of study material, so I will collate what I have in a separate post for future reference. For the moment, may I just refer to Virginia Woolf’s struggle with Joyce (which she never really resolved – personally, I’m not totally convinced she read Ulysses in its entirety nor any of his other works) in particular and, more generally, Volume 2 of her diary which includes this year; one which for her was just another, and was to become for us (and maybe posterity), and unbeknownst to her, much more.

Small town truths

Be it in the ports and industrial centers of Britain or those of continental Europe, or whether just another small town, like that of Angoulême in south-west France, of which Emma Rothschild tells of in this aeon article, the tentacles of the slave trade and the societies that subsisted from its labors and the wealth accrued through its brutality and the denial of human dignity, stretch across oceans and continents and are indelibly entwined throughout much of modern history; from out of the so-called Age of Discovery, through the years of “revolution” and “enlightenment” and beyond.

Slavery; certainly, long (or belatedly) recognized by most as a monumental moral failing, but too often regarded as an unfortunate consequence of the human quest for improvement and expansion – a weak defense of colonialism and tainted by theories of race and white superiority. Only in the most recent of times, have the complicated threads of slavery come to the forefront of research and public discourse, and as being more than just a factor, but a defining factor, in the course of the Modern era, and one still having a profound (and detrimental) effect on societies around the world. A history revolving around the once accepted narratives of great men and great events has been, if not superseded, greatly complemented by this shifting focus. If telling the story of slavery is long overdue, it is also an important consequence that in doing so other influencing strands in the historical narrative have gained traction – of families, of women and children, about work and play; in other words, the stories of ordinary people who lived and died, who made good choices and bad, and were never just the set decorations to the epochs adorned with the jewels of State – monarchs, politics and church.

Emma Rothschild’s essay compliments her latest book, An Infinite History, in which she explores the extended family of her subject over many generations, bringing to the fore, amongst other things, a complicity in slavery – to be read as a microcosm of that of a greater society, and the responsibilities that follow out of that. As she explains it:

[…] An Infinite History is a micro-history, in the sense that it starts with an individual, and it is also a medium-scale and even a macro-history, in the sense that it moves outwards from the individual, by the relationship of contiguity, to her immediate family, to her acquaintances and neighbours, in the social space of Angoulême, and to her posterity over time. It has turned out, along the way, to be a history of what individuals knew about far-off slavery, and of what it meant in their lives.
Slavery en famille, aeon, 1 October 2021

Emma Rothschild’s book, An Infinite History: The Story of a Family in France over Three Centuries is published by Princeton Press, and there is more information on their website, including a Q. and A. with the author, and another short essay on the “hidden economic lives of women”; also a concern Rothschild develops in her book. I should say, the book has its own website with a number of interesting resources; for example, a family tree and maps.

Below embedded is a short taster about the book – a project, really, on a particular way of telling history – on SOUNDCLOUD.

“An Infinite History” by Emma Rothschild, Princeton University Press, 2021.

A progressively Black intelligentsia

As previously pondered, listening to The Ezra Klein Show every week has now become firmly entrenched in my personal well of information, and is as good a way as any to stay abreast of topical matters in US politics and society – and quirky and accessible it is for good measure. And, it is to Ezra’s podcast that I owe my introduction this year to some interesting new (to me) people. Though his guests cover the gamut of race, ethnicity and gender, they are mostly of a similar socioeconomic milieu (though not necessarily born into it); one which can be broadly defined as the professional urban class (academia, government, media, think tanks) and of liberal, left(-ish) persuasion, and mostly young (-ish), that is, in the middle of life and career (though he has pulled in a few golden oldies, like Sanders and Chomsky!). Reasoned, articulate voices from “the other side” are an exception, but when there, are also well chosen and not those seeking provocation for the sake of provocation.

One such typical guest last week was Eve Ewing. Beyond the very interesting conversation that flowed easily between her academic work as a sociologist, her literary endeavors as poet and author and her active commitment to justice and equality, I started thinking about her as a typical example of an evolving coterie of younger, opinionated – and Black – people that have joined the fray with a vengeance in the very recent times and come to my attention with their impressive array of talents. (May I say: highly educated, articulate, courteous, humorous, without being accused of intimating all these traits to be an exception? Probably not. I guess I will just have to accept assumptions made of me as I dare say I make of others – but not here! The question I pose and the answer I give are predictably defensive.) More than anything, I have been impressed by their fearlessness in harnessing their diverse talents to explore and experiment with different mediums, how steadfastly they resist being pigeon-holed, and how uncompromising they are on matters of principle. (I only now realize, for instance, the breadth of Ewing’s range, and how cleverly she blends her artistic interests with the larger societal imperatives that are important to her.)

For Eve Ewing, and an issue only mentioned in passing, that applies (amongst other things) to the policing system and its abuses. I read this forceful essay in Vanity Fair last year, in which Ewing makes her case in respect to police unions that operate (actually as their names often suggest) more as brotherhoods. She traces there a line from the enforcement of the Black Codes at the end of the Civil War through to a system of unionized labor such that solidarity across unions (especially in the public sector) meant that whether police unions were in fact of the same tradition was not questioned. This was an aspect that I had not taken into account when, like many others outside the US, and however sympathetic one may have been to the cause, I found myself aghast at the absolutism of “de-funding”, “getting rid of” and the like that evolved from Black Lives Matter and the outrage about the sanctioned murders from which that movement and others emerged. Though not one averse to the radical, I was skeptical of some of the activist’s demands and their prospect of ever being implemented. That may well still be so, but Ewing and others have convinced me that sometimes it is plain, stark language that is required to attract an audience; later, the most attentive among them will persevere and extricate the details to force a workable agenda.

To digress; a time for reflection: Who then will enforce laws? one such as I may well ask – and too hastily. Perhaps, a more valid question would be: What is to do when laws are inherently prejudicial and, it follows, applied with prejudice? Change the laws and rethink their enforcement, may well be an answer. For example, and this is hardly original: greater concentration and resources on fighting poverty, improving access to employment, education, health-care; better funded outreach into neighborhoods: schools, community and youth centers, churches; using trained interventionists instead of armed police to mediate low-level conflicts (arising through drug or alcohol abuse, civil or domestic altercations, mental health issues). I understand the “de-funding argument” (which has got the most attention) have ideas like these in mind – in other words, redirecting some of (or a lot of!) the funding given to police departments into other areas and into the improvement of (less confrontational) institutions. That is not abolishing the police, but it is at least diversifying enforcement agency and exposing the system to greater scrutiny. Then there is the problem of electing lawmakers who support a different approach to law enforcement; here there must be an acceptance by the greater society – by voters – of the inadequacies and plain wrongfulness of a judicial system too beholden to historical precedent. A year after the murder of George Floyd and the conviction of his killer, is there is an indication of some move in that direction? I don’t know.

Eve Ewing first came to my attention with her poetic contribution to the NY Times acclaimed (and to some controversial) 1619 Project and later (I think) her involvement with a boycott of The Poetry Foundation, but the tone of the conversation with Ezra was more “street” – more community, sociologically steeped. Ewing’s comments, based on her research and writing, specifically in terms of a school closure debate in her home town of Chicago, and how public schooling access are conditional to the neighbourhood in which one lives, were really thought provoking. And, just her fundamental concern that public schools should even be “categorised” (or, it follows, “stigmacized”), I share so much. A question I have often asked is: Why are there bad schools anyway? Bad schools should not exist! Wealthy countries (forget about variations in the subsets thereof) must be able to figure this! One would think.

Words never fail

Sadly, many things failed Virginia Woolf, but what very rarely did, were words.

Reminded by hearing Gillian Anderson’s recitation of Virginia Woolf’s suicide note, and remembering that from Juliet Stevenson, I want to record here the only surviving recording of Woolf’s voice. Recorded on this day in 1937 for a BBC program entitled “Words Fail Me”, listening to the surviving segment through all the noise and crackle of years gone by, one can still discern the so-admired and oft commented upon sonorous quality of her voice.

Virginia Woolf, segment from Words Fail Me, BBC, April 29, 1937

The radio essay was adapted to the written form as “Craftsmanship”; collected by Leonard in the posthumous volume The Death of the Moth and other Essays (1942). There, I notice that her essay is dated as 20th April, 1937, so perhaps she wrote it up cleanly the week before, or her dating (or Leonard’s) went awry. One can presume the BBC is correct.

This and other anomalies surrounding this and other recordings and transcripts are written about here by S.N. Clarke from the Virginia Woolf Society of Great Britain.

Riding the Waves

Much has been said and written about Virginia Woolf’s 1931 novel The Waves, and as the 90th anniversary of its publication approaches, BBC Radio 3 featured on Sunday (& perhaps only available for a limited time) a programme focusing on the musical, lyrical attributes of this, perhaps her moodiest, most experimental work.

To begin with, I was intrigued by Woolf’s novel having been the inspiration behind Steve Harley’s “Riding the Waves” from 1978. That was a long time ago, and listening to it now there is a familiarity; whether because of a recognisable turn of phrase or the rhythms of Cockney Rebel I am not sure – a definite Woolf connection I remember absolutely not.

Riding the Waves, Steve Harley and Cockney Rebel

As Harley readily admits, he takes the words out of Woolf’s mouth, or rather from the pages of her novel, but it is a warm tribute to a long dead female writer who quite obviously touched the soul of a young vagabond minstrel in the wayward 70s.

Different is Max Richter’s composition XVI. The Waves: Tuesday (from Three Worlds: Music from Woolf Works, Deutsche Grammophon, 2015) that brought to an end Wayne McGregor’s 2015 ballet “Woolf Works” for The Royal Ballet. A beautiful contemporary piece that fuses elements from the classical with electronic acoustics to capture the essence of the novel – and Virginia Woolf’s life. Listen well; imagine the ebb and flow of tides, the waters lapping and seeping through sand and upon rocks, clouds scuttling across the sky above. Just like the characters in her novel as they traverse time, waves are forever in motion – rising and falling, drawing near and receding into the distance. Becoming but a memory of their former self … only to reassemble and reemerge again. A haunting reminder of time past and the promise of rebirth. Richter’s musical meditation re-imagines the rhythm of nature and life.

XVI. The Waves: Tuesday

And the prologue? Tuesday. Written in her famous hand on the upper right hand corner of that final note; known to touch even the most hardened amongst us. Beautifully spoken by Gillian Anderson, perhaps capturing the sonorous quality of Woolf’s voice that also has its place in legend.

Clarissa’s other party

Doing some podcast catching up over Christmas, I particularly liked an episode of “The Essay” from BBC Radio 3 in which Bernardine Evarista imagines another ending to Mrs. Dalloway.

In fact, several things Evarista says in her (audio) essay interest me. Firstly, “To the Lighthouse” was her first encounter with Virginia Woolf, but that contrary to my immediate delight on reading this book many years ago, she as a girl of colour yearning to discover something of herself in the books she read, was left cold by the very white, very English world of the Ramsays, and so concluded Woolf had nothing to say to her. A lot later then came Mrs. Dalloway into the life of the the mature writer Evarista, comfortable now in her skin and in her person, she sees the fearless experimentalist writer that also does “skin”; differently, inhabiting the skin of her characters. Evarista it seems can at last appreciate the unique genius of Woolf. (And, in this audio, speak beautifully on it.)

Thinking of Mrs. Dalloway not so long ago, I too used the expression “a day in the life of” , but Evarista cleverly takes our shared expression one step further; turning it around and adding “…or a life in a day”, thereby getting to the very essence of the novel; unmasking the shallow exterior to reveal the history and complexity of an inner life, and not just that of Clarissa Dalloway, for all the characters carry the baggage that a life brings; strewn as it is with regrets, dissatisfactions, repressions, be they emotional, sexual or matters of practical predicament.

Bernadine Evarista’s ending is a reimagining of the character of Lady Rossiter – Sally – Clarissa’s intimate friend of youth, such that, instead of bowing to the restrictions of convention and society, Sally leads still the spirited, free life so promised in that rebellious girl long ago.