Daily Archives: November 15, 2015

11% done with The Big Green Tent

The stampede in the streets: I wonder if that really happened when Stalin’s death was announced? But even if it didn’t, as a literary device it works well to describe the Russian people and state of mind – a leaderless flock in chaos where each person is probably grateful but unable to stop the stampede anyway. Add this the confused sexual feelings of his friend and there is a brilliant mixing of ideas here.

Dubliners: Read from November 27, 2014 to November 15, 2015

Much like Eastern Europeans, the Irish seem to have an uneasy relationship with “the continent” Europe. Yes they are economically and geographically part of Europe but they always seem to be outsiders looking in. The Irish, like the Russians and the Hungarians do not have the perceived cultural heritage of, say, the Italians or Greeks with all their glorious Ancient History. That’s not to say Ireland and other nations do not have a vibrant history, but when we think of “refined Europe” we immediately think of England, or the French, or the Spanish Empire, or the German kings and their castles.

And so when reading Joyce I always get the feeling he is doing everything he can to make the case for Ireland and the Irish people to be noticed, to be taken seriously, to include the Irish as equals among states who have looked down on them for centuries. Joyce shows us a people just as deep in thought and sensitivity as any other people, but who are also afflicted by the oppression of the Church, of England, of their own poverty and shortcomings. Joyce shows us the art of his people to be just as rich as that of an English gentleman or tragic Greek hero.

This, I believe, is the aim of any artist: to be noticed. Not in necessarily for selfish vanity (though that often happens), but to force other people to take notice of what the artist is trying to teach us. Here Joyce is trying to teach us – show us – the lives of regular Irish people with all their hopes, fears, failings, humor, love, vice, and beauty. And Joyce isn’t trying to make the Irish to be better than any other people but he is trying to say “We are people, too”.

I suppose it might seem odd to think the Irish would need a cultural champion when there are peoples in other places in the world who have been prosecuted and murdered for millennium, but from another perspective that belittling attitude is eternally frustrating, it’s like being invited to the ball every year, but you’re made to sit at the kids table and wear a bib. Yes you’re “included” but its patronizing and belittling.

This is the power of any great art, to force us to empathize with someone we never would have otherwise even thought about. And this was Joyce’s gift to art in his ability to take us into the mind of so many different people in an absolutely realistic way. All his characters feel as if they could step right off the page and take up residence in our own lives and so we are forced to deal with these people. We might not like all of them, or even understand all of them, but we at least now know them and if we do a bit of work on our side and try to look at the world through their eyes then we might learn something and be just a little less selfish and self-centered.

9% done with The Big Green Tent

Each of the boys has a need to express himself as individuals, but living in Stalin’s Russia makes that dangerous. One boy is a musician, but his hand his cut and thus his career. The other boy skates, but that ends in a tragedy. Yet another is a photographer and tragedy befalls his father.

Photos from Slate’s Early Soviet Photography Was Surprisingly Avant-Garde

Shaikhet; Light Bulb in a Hut; 1936
Georgy Zelma, Military Parade on Red Square, 1933
Arkady Shaikhet, Express, 1939
Georgy Zelma, Meeting at the Kolkhoz, 1929
Arkady Shaikhet, Red Army Marching in the Snow, 1927–28
Alexander Rodchenko, Horse Race, 1935
Arkady Shaikhet, Greeting the Chelyuskin Men, 1934
Left- Arkady Shaikhet, Assembling the Globe at Moscow Telegraph Central Station, 1928 — Right- Arkady Shaikhet, The Parachutist Katya Melnikova, 1934
Left- Alexander Rodchenko, Girl with a Leica, Portrait of Evgeniya Lemberg, 1933 — Right- Georgy Petrusov, Asiatic Sailor, ca 1935–36
Left- Georgy Zelma, Three Generations in Yakutsk, 1929 — Right- Alexander Rodchenko, Sports Parade on Red Square, 1936