Caminho de Tiago Day 5

Today was our most arduous walk so far, and also the one through the most beautiful environments, from Ponte de Lima to the tiny town of Paredes de Coura, where we are staying in the lovely Casa da Capela.

‘Should we pick up that sock?’ you said
and picked up a sock with a yellow
plastic peg attached. ‘Someone
will be looking for it.’
An hour and four K later
we met a young woman going the other way
and while I was thinking she looked too young
and un-Portuguese to be going to Fatima,
you called, ‘Are you looking for a sock?’
“You are my angel,’ she said.

——

We hear the young lycra-men on bikes
from half a K away, even noisier than
the young Italian women back in town.

—–

Those who would venture to walk
on the Caminho,
let them do more than just talk
over their vino.
They need to buy good shoes,
they need to pick and choose
waking poles that let them cruise
when they are pilgrims.

Caminho de Tiago Day 4

Today was a pleasant and relatively sociable walk from Balugães to Ponte de Lima. A cool breeze made all the difference to weariness levels, or maybe we’ve become accustomed to what after all isn’t a very long walk each day – a little less than 20 kilometres. Here are my snippets.

This would be for the Danish pilgrim to say:
I bought
the three bananas
that were on
the counter
of Talha Viana

and which
you were certainly
queueing to buy

Forgive me
they were delicious
and went so well
with our meite de leites.

——

Anzac Day
in Rua 25 de Abril, Balugães
nobody notices
the dead swallow

——-

Earworms/earwords:
Whan that Aprill with his shoures soote
valderee, valderá, valderee,
thanne longen folk to goon on pilgrimages
valde-ah-ah-ah-ah-ah

 

 

Caminho de Tiago, Day 3

Today we walked from Barcelos to Balugâes.

Pasolini called his film The Gospel According to Matthew. If he could drop the Saint, so can I: it’s not São Tiago or Santiago from now on, just Tiago. Here’s today’s crop of call-them-poems.

A huge toad
flattened on the road
like a childhood memory.

——

No need to ask if we’re lost
or where we want to go,
just smile and point.

——

Whipper-snipping
bale-wrapping
tractor-driving
hedge-uprooting
rotary-hoeing
barrow-wheeling
bean-picking
hand-hoeing
cow-and-sheep-driving
grass-raking:
farmers working up a sweat.
Pilgrims walking one up.

——

A road sign:
a snowflake
inside a red triangle.
(The obedient snow is keeping a safe distance.)

Caminho Portuguès, Day 2

Day 2, we walked from Arco to Barcelos. There was, as a fellow caminhante said, mucho calor. (I have no idea if that is correct Portuguese, but the meaning was clear and accurate.) Today I have some found poems for you ((or stolen, if you like), some translated to the best of my ability.

If the world is a book
then those who do not travel
read only one page.
St Augustine
(Neatly written in French on a waypost.)

——

WALK
EAT
SLEEP
REPEAT
(In English on a gum tree – which were myriad)

—–

Japanese Mini Tractors for Sale
(In Portuguese on the fence of a yard containing half a dozen very small tractors)

——

A road sign:
a plump cow in silhouette
inside a red warning triangle.
(We saw no cows.
They had been warned off.)

——

Street names:
Rua de São Salvador
Rua Senhora de Imaculada Conceinçao
Rua da Cruz de São João.
Here you are what you are
in relationship to Catholicism

——

Sign

If you look closely you can see the Emerging Artist in this picture

Another road sign:
Caution
Pilgrim Traffic.

——

Find out what’s the least you can do
(What I think the Portuguese says on a little tile in Barcelos, attributed to Ferdinand Pessoa)

And tonight everything is sore.

 

 

Caminho Portuguès, Day 1

The Emerging Artist (can I still call her that?) and I are walking part of the Caminho Portuguès, from Porto to Tui (which is in Spain, but quite a way from the goal of true pilgrims, Santiago de Compostella. We are not true pilgrims: we’re not sporting scallop shells, we left our Pilgrim’s Passports in our hotel room in Porto, and we don’t anticipate spiritual experiences. But I’ll try to put up a couple of bits of verse each day. So here goes, with Day One.

I though we’d be like vermin
but sweet European birdsong
and men on bikes in lycra
wish us Bom Caminho.

——

Twang two three four
thud two three four.
Walk with a stick and
follow follow follow
follow the yellow arrów.

——

Here the eucalypts
are a virus caught from capital
but they still smell like home.

——

On these cobbled high-walled roads
cars approach like thunder.

Evie Wyld’s All the Birds, Singing

Evie Wyld, All the Birds, Singing (Vintage 2013)

wyld.jpgMy copy of All the Birds, Singing announces on the cover that it won the Miles Franklin Award in 2014. As I read the first chapter, which is set in a generic British countryside, I wondered about that prize, given the insistence in past years that the Miles Franklin winner had to be set in Australia. The first paragraph of the second chapter put my questioning to rest:

We are a week from the end of the job in Boodarie. I’m in the shower at the side of the tractor shed watching the thumb-sized redback that’s always sat at the top of the shower head. She hasn’t moved at all except to raise a leg when I turn on the tap, like the water’s too cold for her.

Then, as if Boodarie and the redback aren’t enough to signal that we are now in rural Australia, the next paragraph lays it on thick:

The day has been a long and hot one – the tip of March, and under the crust of the galvo roof the air in the shearing shed has been thick like soup, flies bloating about in it. […] The first stars are bright needles, and in the old Moreton Bay fig that hangs over the tractor shed and drops nuts on the roof while I sleep, a currawong and a white galah are having it out; I can hear the blood-thick bleat of them. A flying fox goes overhead and just like that the smell of the place changes and night has settled in the air.

The novel continues in alternate chapters. On an unnamed British island, the protagonist has a small sheep farm, and someone or something is killing her sheep. In Australia, some years earlier, she is a lone woman shearer, with a dark secret in her past. On the island, she has to deal with a series of men who refuse to take her story of a sheepkiller seriously. In Australia, the telling moves back in time through a series of unfortunate incidents, mostly involving physical and sexual abuse by men.

It’s a good read, but I have to tell you that if, like me, you prefer a book that sets up a mystery to arrive at a solution to that mystery, you will want, like me, to throw this one across the room when you reach the final pages.

All the Birds, Singing is the fifth book I’ve read for the 2018 Australian Women Writers Challenge.

Beverley Farmer’s This Water

Beverley Farmer, This Water (Giramondo 2017)

5tales.jpgThis Water is Beverley Farmer’s tenth book. Her first, the novel Alone, was published in 1980. Her short story collection Milk won the Christina Stead Prise for Fiction in 1984. She was shortlisted for the Miles Franklin Award in the 1990s, and in 2009 she received the Patrick White Award, given each year in November to an Australian writer ‘who has been highly creative over a long period but has not necessarily received adequate recognition’.

As Alexis Wright said in her acceptance speech for this year’s Stella Prize, ‘any book is nothing less than a monumental achievement’. To have written book after book as Beverley Farmer has done, with just enough recognition from those who bestow cultural credibility, is beyond monumental.

I haven’t read any of her earlier work, apart from an essay or perhaps two in the late lamented Heat, but I suspect that This Water represents something like a Late Style. There’s something about its five stories that signals a grand indifference to fashion or indeed to how any reader might judge them. They are:

  • ‘A Ring of Gold’, which features an old white woman living alone (though surrounded by other people) in coastal Victoria, long after the death of her husband and her only sustaining relationships being in memory and with the natural world. I thought of this as a kind of Portrait of the Artist as an Old Woman, only deliberately leaving out the art-making
  • ‘This Water’ and ‘The Blood Red of Her Silks’, two tales in the mode of Celtic stories of princesses and curses. Unlike the magnificent tellings of such stories for young readers by the late Ruth Manning Sanders, or for that matter Hans Christian Andersen’s ‘The Wild Swans’, these – especially the second, much longer one – leave their folk origins to tell challenging adult tales (adult in the sense of grappling with difficult ideas)
  • ‘Tongue of Blood’, a monologue from a figure from Ancient Greek tragedy
  • ‘The Ice Bride’, the longest of the tales. With motifs and structural elements from fairy tales – especially “Bluebeard’ and ‘Beauty and the Beast’, and perhaps a gender-reversed ‘The Snow Queen’ – this is a deeply creepy, dream-like fantasy. I haven’t read Fifty Shades of Grey, and I imagine that this is infinitely better written, but the abject dependence of the female protagonist on her ‘Lord’ made me think of that book.

None of the characters in any of the tales has a name.

I can’t say I loved the book, but it’s beautifully written, uncompromising in its commitment to exploring aspects of women’s experience, and strong enough that when ‘light year’ is referred to as a measure of time (‘Our dreams are like the stars. What we see is light years ago.’) my irritation was forgotten within a couple of pages. If you plan to read just one of the stories, I recommend ‘The Blood Red of Her Silks’.

This Water is the fourth book I’ve read for the 2018 Australian Women Writers Challenge. I gratefully acknowledge that my copy is a gift from Giramondo.

Nos ossos

I had hoped to write about the Moving Hearts Project in London as it happened, but it turns out need recollection time to do that sort of thing, and that sort of time has been in short supply. Other kinds of blogging, including brief notes about my reading and perhaps a little translation, don’t have quite the same needs.

Today we visited the Capela dos Ossos (Chapel of Bones) attached to the Church of São Francisco in Evora, Portugal. The chapel was built in the 17th century, with walls and pillars covered with thousands of human bones, including skulls. It’s beautiful in an inner-city tattoo kind of way, but very creepy, especially when you realise that the bones were dug up from cemeteries connected to the church. The makers, however unthinkingly disrespectful to the graves they robbed, had pious intentions. The chapel is meant as an over-the-top memento mori.

A poem by Padre António da Ascenção Teles, a local parish priest in the mid 19th century, is displayed in the chapel to help us tourists understand the pious intent. (I’ve also included it, in Portuguese, at the end of this post.) It’s a sonnet, so how could I resist having a bash at a version (helped of course, since I don’t speak or read Portuguese, by the literal, non-rhyming English version also on display in the chapel, which you can see here). My title is the message carved in the stone over the entrance to the chapel.

Nos ossos qui aqui estamos pelos vossos esperamos /
We bones who are here are waiting for yours

Where are you rushing to, sightseer?
Stop now. Ignore the guidebook’s patter.
Nothing that’s in there can matter
more than the sight you see right here.

Billions have gone, no longer breathing,
and you’ll end pretty much the same.
Ignore this? That would be a shame.
For every life, death is a key thing.

Shopping, selfies, news with noddies,
tweets of Trump and deeds of Dutton:
who remembers we’re all bodies?

Just look. These walls, though they’re bizarre,
can reset your attention button.
Stop now. Remember what you are.

The original, by Fr. António da Ascenção Teles:

Aonde vais, caminhante, acelerado?
Pára…não prossigas mais avante;
Negócio, não tens mais importante,
Do que este, à tua vista apresentado.

Recorda quantos desta vida têm passado,
Reflecte em que terás fim semelhante,
Que para meditar causa é bastante
Terem todos mais nisto parado.

Pondera, que influido d’essa sorte,
Entre negociações do mundo tantas,
Tão pouco consideras na morte;

Porém, se os olhos aqui levantas,
Pára … porque em negócio deste porte,
Quanto mais tu parares, mais adiantas.

 

China Miéville’s Scar

China Miéville, The Scar (Del Rey Books 2002)

scar.jpgThis was another gift from the Street Library gods. A couple of pages into it, I realised that it was set in the same world as China Miéville’s Perdido Street Station, which I read many years ago. It’s not a sequel. As far as I recall (which I admit isn’t far) no characters have made the transition from the earlier book, but it packs a similar narrative punch and is populated by a similar range of fantastical creatures who engage in the same blend of steampunk science and magic (thaumaturgy) in the same teemingly complex universe (which I hope never gets made into a CGI-based movie).

The story involves an immense sea monster that is tamed and/or drugged into towing on huge chains a pirate city made up of hundreds of lashed-together vessels small and large. It features sentient beings known as the anophelii, whose chronically famished females attack any creature with blood in its veins and suck it dry in seconds, and whose males, whose mouths resemble anal sphincters, live lives of weirdly passive abstraction. It includes, not necessarily in order of importance, vampir (sic) bureaucrats, cactus people, probability mining (I won’t try to explain), fabulously bloody sea battles, a sweetly tragic love story (not of the romantic variety), a vast crack in the universe, and a charming account of the process of learning to read.

I read somewhere that a secret of good fantasy writing is to give the reader cool stuff now, and then cooler stuff later – that is, not to have a terrific climax preceded by a hundred pages of so-so build-up. The Scar is profligate with cool stuff.

I could go on, but I’ll finish off with a taste of Miéville’s prose (I don’t think it’s a spoiler to tell you that the characters are descending in a tiny deep-sea vehicle):

After uncountable minutes, the darkness outside was momentarily broken, and the crew gasped as time returned to them like an electryc [sic] shock. Some living lamp was passing them by, some tentacular thing that inverted its body with a peristaltic wave, enveloping itself in its luminescent innards and shooting away, its austere glimmer snuffed out.
Chion ignited the lamp at the bathyscaphos’s front. It stuttered on, its phosphorous glow casting a cone of light. They could see its edges as clearly as if they were marble. There was nothing visible in the lamp’s field except a soup of minute detritus, particles that seemed to eddy upward as the Ctenophore plunged. There was nothing to see: no ocean floor, no life, nothing.That crushing emptiness they had illuminated depressed them more profoundly than the darkness. They descended unlit.

The book may not be to everyone’s taste, but I found it full of delights.

Rose Tremain’s Restoration

Rose Tremain, Restoration (©1989, Sceptre 1990)

Irestoration.jpg read this book – another gift from strangers by way of our little Street Library – while in London with the Moving Hearts Project, which regular readers will know involves shaping hearts from clay. It was a lovely bit of serendipity that in the first couple of pages the narrator, an anatomy student in the mid 17th century, is ‘forced to contemplate an astounding phenomenon’:

I am encircling a human heart, a living human heart with my hand. I am now, in fact, squeezing it with controlled but not negligible force.

I had been doing the same with a heart of clay just minutes before I read that.

Robert Merivel, the narrator–hero, quits medicine for the pleasures and intrigues of the court of Charles II, where he sees himself as a kind of beloved fool. His fortunes rise, and fall dramatically. He finds himself working with an austere group of Quakers in an insane asylum, and again falls from grace. Merivel is his own worst enemy: his heart is in the right place but another part of his anatomy is too often in the wrong one. The book is often very funny, with moments of tenderness and heartbreak.

I haven’t read Pepys’ journals, but I’m guessing that the book owes quite a lot of its tone and ambience to them. I’m pretty sure that Pepys himself makes a brief unnamed appearance.

I enjoyed the book hugely. It was an extra pleasure to read it in London. I regularly walked around Lambeth and Vauxhall, where Merivel rides his horse through the woods (no woods there now), or beside the Thames as Merivel does. The echoes intensified my enjoyment of both the real and the imagined London. Though it doesn’t snow in the novel as it did in my time there, and there was no plague that I knew of in 2018 London, I was particularly struck by this little moment, which also gives some idea of Merivel’s voice:

I stood still and took my first breath of the city. The scent of the air dod not seem to have been altered by the presence of the plague. What I did notice at once, however, was a strange quietness in the street and beyond it, which was like the quietness of snow. It was as if the city had fallen into a trance, or else become a place that I was not really standing it, but only saw and heard from a long way off.

I gather Merivel is the hero of a second book by Rose Tremain. If it turns up in our Street Library it will be hard to resist.