Jazzy D's Soul Notes

Iain Banks "Canal Dreams" (Abacus)




The surface story is simple enough in which a famous cellist goes on a world tour by ship, because she is so phobic about flying she can't bear to step on a plane. Her ship is caught up in a civil war as it passes through the Panama Canal.

Initially there is nothing but tedium, as three stranded ships huddle together for safety -- tedium, and for Hisako the chance of a love affair with an officer from one of the other ships. But then the boats are seized by a group intent on using them in an escalation of the war that has until now not directly touched them. There follows a slow study of the psychology of a hostage situation where the hostages are initially well-treated, and then the explosion into violence when the hostages' usefulness comes to an end.

But more than that, it is a study of how someone who suffers from a severe phobia need not be a coward in other things. Hisako remains passive while there are other lives at stake; but the hostage takers fatally underestimate a woman who has more than music in her troubled past.

It's short,a dark, and a quite frankly observed revenge fantasy. It's not the best of the author's work, but if you like his books it's worth trying.

Jen Waldo "Old Buildings in North Texas" (Arcadia Books)




If ever there was a book that deserved having the term "novel" applied to it, "Old Buildings In North Texas" is it. I've never read anything quite like it. This is not a teaching aid with clear moral messages. It's the story of a woman in love with cocaine but having to deny her lover if she wants to have a life.

This is a story of recovery, rather than redemption. As our heroine (no pun intended) puts it: "I'm working to get better not to be better". Of course, she isn't always working very hard. She disdains her court-mandated therapist, is irritated by her parole officer and infuriated to be back under her (perfectly reasonable and deeply supportive) mother's supervision. So she finds a way to freedom, a personal path to her new life. Does it matter if it's built on lies and deception, trespass and theft and placing her heavily pregnant baby sister at risk? Actually, no, it does not. Suck it up.

Our heroine takes up "urban exploration" as a hobby. This initially involves finding a way into and exploring old abandoned buildings in North Texas but leads on to systematic, profitable looting.

I liked the voice of the main character. She wasn't always nice but she was always authentic. Her mixture of anger, denial, simple curiosity, complicated obsessions and determination to escape is beautifully described. She presents her worldview with humour and enthusiasm without allowing herself to sugar-coat the issues - well not much anyway.

Jen Waldo has a unique voice, I would like to read more of her work to find out what else she has to sa.

Ted Hughes "Birthday Letters" (Faber & Faber)




This work presents itself as a commentary on Plath and Hughes' relationship with the implication that the poems were written in real time. I don't believe this. I think this is a reputation washing exercise and therefore a different type of dishonesty than is usual in poetry.

We learn nothing significant about either person, Plath or Hughes, that we couldn't have already guessed, but the arrogance and cruelty shown by Hughes in this collection regularly took my breath away. He never shows any sign of attempting to understand her mental health issues, or reflect on his own feelings about those issues. She is reduced to a madwoman, a raving creature obsessed for reasons unclear with her own father, a compulsive unreflective beast dedicated to being difficult and getting in the way of him writing Important Poetry.

Her behaviours are not rational or based on any set of values, they're just childish tantrums that hurt random people around here, like the imagined English countryman setting traps to catch rabbits for his pot that she starves by tearing up the snares - he gaslights her from beyond the grave, her moral values are fake whilst his are unimpeachable. Their chidren are often mentioned, but only once are either of them refered to as 'his' or 'my', otherwise only 'her', but the children's feelings or lives are not touched on, only their existence refered to obliquely to draw attention to her failings are a parent. He shows no interest in the lives of their chilren or their inner worlds, just uses them as a stick to beat her with.

There are so many mocking references to Daddy and Ariel, but no engagement with the works. This is a world in which a woman's trauma is treated as a personality flaw, her bpd is treated as difficulties and troublemaking. I have seen so many people like him in my professional life, they are everything we seek to change about the world and their refusal to understand trauma and psychiatry or do any self-reflection is a major problem in the interpersonal lives of so many people.

I am a fan of Ted Hughes' work, but this is cruelty pretending to be neutrality, insults pretending to be artistic neutrality, and worst of all, there are very few poems in here that are Hughes at his best. Perhaps the best poem in the book is Wuthering Heights, or maybe The Minotaur, but mostly they are cold, like adverts, like PR bumpf, showing only excerpted versions of the human experience. Poems should make you see things in a new way, good poems should reveal the truths of the world in ways you never imagined. Not a single poem in this collection made my blood pump harder, made me exited, made me read the work out loud to my partner excitedly.

There were some good poems, certainly. Hughes skill is undeniable, but there were so few moments in this where his descriptions, his rhythm, his vision grabbed me and surprised me, only depressed me with his art, a great painter leaving a portrait to posterity that is a grotesquery, handing on hatred as truth to posterity. I feel so sorry for Sylvia Plath, being handpicked as a trophy wife by a selfish man who didn't understand her and didn't want to, who felt attacked by the existence of an emotional life that was inconvenient to him, and then having her pain and art turned into mocking and dismissive poems.

There is nothing in this book that tells you anything about why he loved her, what he liked about her, the good times they had together, the work they created during their relationship, how he felt and why, what she said about her subjects, their courtship, why they got married, why they had children, a whole relationship reduced to 60 or so bitter vignettes of him having the arse with her. It's the poetry equivalent of a man explaining that his ex is a nutter and you shouldn't believe anything she says. Horrible stuff, sometimes very good in a technical kind of way but mostly the only thing I felt was annoyance.

Jim Al-Khalili "Quantum: A Guide For The Perplexed" (Weidenfeld & Nicholson)




Reading books like this just makes you realize how smart and creative theoretical physicists are, and I am intelligent enough to understand the main gist of the book. He really, really tries to make this stuff understandable. He used examples and used pictures, and didn't use sophisticated language either.


I did come away with incredible admiration for folks who actually do understand this stuff and can apply it to real world applications because this is the most counterintuitive thing you will ever come across.

Another very strange thing about this book is that some of the concepts are so counter to reason that it really casts doubt in my mind on my own atheistic beliefs which are seriously derived from reason and rationale thought.

Quantum physics really seems to highlight the limits of our understanding while simultaneously showing how brilliant we are. We can create predictive mathematical formulas that WORK under all sorts of experimental conditions. But we don't know why they work.

All in all, hats off to the author for even attempting to bring this subject down to layperson's terms.

Malcolm Arnold
Symphony no.9
National Symphony Orchestra of Ireland/Andrew Penny




Arnold is probably better known for his film scores such as Bridge on the River Kwai,but his 9th symphony is his crowning achievement in my opinion. Composed in the eighties, this is his crowning glory with a heart aching lento in the fourth movement. The movement is bleak and intense, spare and grief stricken, like a gigantic funeral march but with a radiant resolution at the end. Without that final chord, the surrender to nihilism and despair would be total
Awesome..

Arnold: Symphony No. 9, 4th Movement



ENJOY

This is a classic prog rock alobum from 1969. Its 40th annoversary edition is just awesome. CD and DVD double in a slipcase style.

King Crimson - In The Court Of The Crrimson King

Jacqueline Harpman "I Who Have Never Known Men" (Vintage)



For years, 39 women and 1 younger girl have lived in an underground bunker in a cage. Patrolling guards are their only contact with the outside world, and at this point they despair of ever escaping, resigned to death in prison. Most of the women can remember their former lives, but the younger girl remembers nothing but the cage. But one day, a mysterious siren goes off just as the guards are opening the hatch to deliver them food, and after the guards disappear, the women are able to escape. But will they find freedom outside of the bunker?

This is a bleak dystopian novel that is less about what happens to its characters and more about the human spirit in the face of despair. The writing is beautiful, and every word is tense. My only complaint was that I desperately wanted to know more, to understand why and how, but Harpman does not answer these questions and leaves them to her protagonist and the reader to ponder.

Raymond Williams "The Long Revolution"(Pelican)




I've become very interested in critical theory recently, especially in the areas of Marxist Criticism and Cultural Studies. I've been reading some of the primary texts of these movements in an effort to understand where they are coming from and how they can be used in literary criticism and beyond. So far I have finished several short excerpts and essays as well as two books, including The Long Revolution by Raymond Williams. While all of this reading has been truly enlightening, The Long Revolution has stood out to me as one of the most interesting and mindblowing pieces of nonfiction I have ever read.

In this book, Williams sets out to describe the state of literature, democracy, education, and culture in England, how it got there, and where it's going. He does so by tracing the history of various institutions, including public education, the popular press, and standard English, and showing how they have become what they are. Using many (somewhat exhausting) pages of facts and statistics as evidence, Williams comes to stunning and revolutionary conclusions. I was absolutely blown away by his ideas because they seemed so right and felt so honest.

First, Williams sets down definitions for important terms that he will be using for the rest of the books. These terms have so many uses in casual speech that he defines the way he wants the reader to understand them in the context of his book. He defines what it means to be creative, and shows how all people create to some degree in their everyday lives. He also defines culture, not just as art and clothes and the lie, but as structures of feeling, the way people thought and felt about things, the general sense of what it was like to live in a time. Once those definitions are complete, he shows the various ways that an individual can relate to society as a whole, and the different ideas of what it means to be individualistic verses social. His great gift is subtlety, and he can show all the important social reasons why individualism became the dominant idea of how people relate to society while also showing how pure individualism has failed society and is now being reevaluated by a new generation of people. The chapters Individuals and Societies and Images of Society and the end of Part 1 left me literally speechless. It's Williams's balance and fairness, his reliance on research, his refusal to be pedantic or dogmatic, that makes this book so refreshing and so effective.

So often, when we talk about culture we blame low quality arts, be they books, movies, or music, on the masses, as if the working class were inherently less intelligent than the rich or entitled. Williams doesn't just argue against that, he shows with real evidence that much of that classist thinking goes against the actual history of these institutions. He shows, for instance, that the relatively low state of the popular press (magazines and newspapers) today is not, as many people think, the fault of the poor taste of the masses, but instead that the popular press has been affected by changes in printing, distribution, taxation, advertising, and consolidation of ownership more than anything else. The glut of sensational tabloids is sold just as much to the rich as to the poor, and the changes in newspaper styles and distributions are independent of education reforms that taught more of the working class to read. The proliferation of low-quality books, movies, music, and newspapers, he argues, is not the fault of the inherent bad taste of the masses, but a side-effect of the ownership of these cultural institutions by speculators who are only interested in making money. Quality artists, interested in furthering the art form, cannot compete with the scale of distribution that the large companies produce. The problem, it seems, is not that people are inherently stupid or that the lower classes have inherently bad taste, but that our current system of capitalism makes our cultural institutions into a matter of speculation and profit. Anyone who is interested in independent publishing should absolutely read Part 3, Britain in the 1960s, which looks at the publishing industry in a way I've never seen before.

Williams writes in a style that is easy to read and understand. Although there are some slow sections where he is setting down definitions or charting history using facts and figures, his conclusions are always strong and flow naturally from his research. The book is older, published in 1961, so I'm sure it has mistakes and is outdated in some places, but most of it still reads as being contemporary and relevant. His structure is perfect, his writing is incredibly readable, and his ideas are engaging. I don't know that I have ever enjoyed academic writing so much, and I thoroughly intend to read more of his books very soon.

Ashley Kahn "Love Supreme: The Creation of John Coltrane's Classic Album" (Granta Books)





A Love Supreme is one of the most important and influential jazz albums of all times, and, certainly, one of Coltrane's most praised records. This book is a kind of biography of that record, presenting, in Chapters 3 and 4, the history of the recording sessions of December 1964 (with recollections of, among others, Elvin Jones) and also describing the surrounding context (musical and otherwise): the early play of Coltrane, including his work with Miles, the formation of his Quartet with Tyner, Garrison and Jones, and the contract with Impulse, and the aftershocks of the album release, describing the influences the album had in the avant-garde jazz scene at the time and in the larger world afterwards. This is a excellent book and a fit tribute to a unique jazz masterpiece.

David Barber "When the Fat Lady Sings: Opera History As It Ought To Be Taught" (Sound And Vision)







The subtitle says it all: Opera History as it ought to be taught. (Although it's really about the composers rather than their operas.)

As with his other books, it is a humorously engrossing book. You don't have to be a big opera buff to enjoy this exhilarating and entertaining book. If you feel down, this will definitely perk you up.