John Freely’s Istanbul

John Freely, Istanbul: Imperial City ( 1996, Penguin 1998)

20120617-184203.jpgOn a friend’s recommendation, I borrowed this from the library as preparation for our trip to Turkey. As it became clear I wasn’t going to finish it in time, I also bought an eBook, which I finished on the plane. I’m jabbing this entry on the iPad keyboard in the air.

The book is a bit of a hybrid – a biography of the city from 658 BCE to 1995, and a guide to the monuments and relics of that long history. It doesn’t aim to make sense of the history so much as to help reader–travellers understand what they are seeing. Istanbul is not the capital of modern Turkey, but it was an imperial capital for many centuries, so perhaps it’s inevitable that the book’s backbone is a chronology of a series of rulers – of Greek and then Roman antiquity, Christian Nova Roma / Constantinople, the Ottoman Empire and finally the Turkish Republic. We are told the name of each new Augustus/Sultan, how many relatives he killed on his way to power or after getting there (one new Sultan killed a record nineteen younger brothers), his age, and what monuments he left. Court intrigue, exile, mutilation, assassination and heroic exploits in war may make for high drama in close up, but in a narrative that covers more than 1500 years in 300 or so pages, they become a bit of a slog. Freely does his best to keep it lively. The quotes from contemporaries over the ages bring welcome insight into the look and feel of Byzantium/Constantinople/Istanbul at a given time, in particular the substantial passages from the fabulous seventeenth century writer Evliya Çelebi are just fabulous.

I’m glad to have read it and I’ve probably retained enough to enrich my impending visit, but I found myself constantly asking why – why did the populace sometimes support an invading leader, and why did they often turn against him soon after his coronation, how come a section of the army could just decide to make their leader the emperor, and so on. I would have appreciated a little discussion of, say, the relationship between secular and religious authorities in both Christian and Muslim empires, or the status of women, or the lives of everyday people. Without such discussion, a lot was left mysterious.There are plenty of events that raise questions about these issues. For example, though Turkey had its first woman prime minister when the book was being written, the Byzantine Empire had more than one Augusta and some women seem to have wielded enormous powered behind the Ottoman throne.

So I’m not sure I’d recommend the book but I wouldn’t recommend against it. Now our German pilot is telling us to prepare for landing, so I’ll stop poking at keys and switch off my electronic equipment.

Notes from a Tidy Town

The Art Student and I have just spent a couple of days in Singapore en route to Turkey. Apart from the fabulously welcome heat and the pleasure of walking about in an unfamiliar place, I’ve noticed:

  • the absence of graffiti, to the extent that an installation in the Singapore Art Museum was accompanied by a note saying that even though graffiti was awfully antisocial it could sometimes inspire artworks (though we did see a couple of lonely tags under a bridge near some equally rare skateboarders).
  • excellent, cheap underground rail, with a ticketing system that’s cumbersome for blow-ins like us who just want single-trip tickets, who have to pay a refundable deposit of a dollar on each ticket (the tickets are plastic – an anti-littering strategy?), reclaim able only from a machine at the other end
  • ‘Do Not’ signs that indicate customary practices: I only saw one ‘pedestrians must use crossing’, and it was in one of the few places where they mostly didn’t; ‘Do not lean on door’ was on the wall above two young men engrossed in their phones and leaning as if there was no other way to ride the subway; and my favourite, ‘$1000 fine for riding here’, failed to deter the gentleman who came zooming past us, who looked as if he wouldn’t have managed a fine of a tenth that size.
  • a definite child-friendly feel to the art galleries: Sakarin Krue-on’s installation ‘Cloud Nine’ in the Contemporary Asian Art exhibition at the Singapore Art Gallery featured stray dogs with beautiful wings that reminded me of S. D. Schindler’s magical illustrations for Ursula Le Guin’s Catwings; more substantially, we caught the tail end of a city-wide Children’s Season in museums – a whole building of the SAG was given over to interactive works that invited children’s participation, real works that made me want to join in, and a video art room that showed excellent children’s cartoons.
  • a system of pricing in which things aren’t always what they seem: if for instance you bought Dr Dre earphones for your iPad for $430 ( very cheap, it turns out, probably because they’re fake) you might find yourself paying more than $500 because of the 7 per cent GST, and if you challenged the maths of that, you might discover there was a government levy on credit card transactions. Not all of this is swift talking by clever salespeople – I saw a price tag on a Tiger beer tower (don’t ask) that read ‘$68 + +’.
  • It’s a terrific city. We walked a lot above ground and a lot below ground. We ate Indian, Japanese, Chinese, and ice cream. We discovered deep fried cereal prawns, which we ate but didn’t understand. Today as we swam upstream in Bugis Street against a current consisting almost entirely of cheerful young people, I thought to myself, ‘This is no country for old men.’ in a couple of hours we’ll be flying to Byzantium, those dolphin-torn, those gong-tormented seas.

    Ross Gibson’s Seven Versions

    Ross Gibson, Seven Versions of an Australian Badland (UQP 2002)

    I finished reading this book a while ago but it’s taken me until now to write about because I took it very personally.

    It’s a meditation on the so-called horror stretch, country north of Rockhampton in central Queensland that has a reputation as the setting for terrible events. Starting with a number of roadside murders in the second half of last century that made headlines all over Australia, Gibson explores the cultural factors, the ‘structure of feeling’, underlying the general fascination with those crimes. A ‘badland’ such as this, he says, is a way of localising and mythologising issues that are unresolved in the society in general. This description may lead you to expect something that reads like a bad translation from the French, with lots of stuff being inscribed on the landscape, and references to impenetrable theory. But no, it’s an engaging read, and becomes positively compelling as it moves back in time to the terrible first contact between Aboriginal people and settlers, forward again to the ordeals of Melanesian indentured workers in the sugar paddocks, and forward yet again to the White Australia Policy’s denial of the extraordinary diversity of the region.

    ‘Sooner or later,’ Gibson writes, ‘any society that would like to know itself as “post-colonial” must confront an inevitable question: how to live with collective memories of theft and murder. Sooner or later, therefore, acknowledgement and grieving must commence before healing can ensue.’ This must also be true of the individuals who are part of that society, and my sense is that for all the impressive scholarship and historical research that went into it, this project is at heart personal, a way of making personal acknowledgement and beginning the necessary grieving. At least, coming though I do from Innisfail, hundreds of miles north of the horror strip (and yes, I knew of it by that name in my childhood), that’s how I read it.

    Things may have changed, but when I was at school, history happened mostly in England (and elsewhere in Europe for Catholic Church history), and what we were taught of Australian history happened in Sydney or Melbourne, or occasionally the other capital cities. The only North Queensland figures I remember being mentioned – and that was at home rather than school – were the explorer Edmund Kennedy, speared by ‘natives’ in 1848, and his faithful Aboriginal companion Jackey Jackey (whose real name, Galmahra, was never alluded to). The specific history of the arrival of non-Aboriginal settlers in the north was never even hinted at. As in the ‘horror stretch’, I’ve learned, this history involved mass murder by Native Police under white officers. Ross Gibson brings that history home, and has a good deal to say about our collective silence about it. Even at the time of widespread killing of Aboriginal people in the mid 19th century, he says, the officers

    jinked a two-step of violent action and circumspect remembrance. They wrapped their deeds in dissembling verbiage and eventually they became their own twisted idioms, developing a ‘pathological’ disconnection between doing and declaring, a disconnection which gave them no way to see the world clearly.

    That ‘circumspect remembrance’ is something that has lived on in the north ever since, as ‘white people simultaneously knew and refused to know the violence behind their everyday lives’.

    Now here’s why I took this all personally: in an entry in this blog a few years back I said I didn’t know much about first contact between the Mamu people and the first settlers of the Innisfail region, and I gave a link to Innisfail’s web site. When I clicked on that link I found this:

    The first incursion came in 1872. Survivors of the shipwreck Maria arrived on the coast near the Johnstone River. Some of the Indigenous people helped; others they opposed. Sub-Inspector Robert Johnstone’s search party came to rescue survivors and punish Aboriginal people who had abused them, and ventured up river from what are now Flying Fish and Coquette Points. Johnstone wrote glowing reports of the area, and with vigilante Native Troopers attacked the Mamu people with rifle fire as he escorted the explorer Dalrymple, charting the watercourse and having it named after himself.

    When European cedar cutters and Chinese gold seekers arrived later in the 1870s and early in the 1880s, the Mamu fought them and inflicted serious casualties. Again the Europeans sent in the Native Police. Superior firepower broke up the Indigenous communities and dispersed or integrated the remaining original landowners.

    The evidence is that I had read that and could still say I didn’t know what happened, yet its meaning couldn’t be clearer. Words like ‘punish’ and ‘dispersed’ are transparent euphemisms: the high moral ground assumed by one and the almost kindly feel of the other could mislead only the ignorant or, it pains me to say, allow the wilfully obtuse to ward off the obvious. It’s impossible to stay obtuse after reading this book. And a further confession: I must have blithely assumed that if Native Troopers and Native Police were involved things couldn’t have been too bad. Gibson puts that assumption to rest with his account of the way armed young Aboriginal men, uprooted from their own communities and freed of cultural restraints, were directed to kill and maraud. He lays bare the mechanism by which Indigenous people, under tight white control, performed the genocidal work of dispossession, leaving the settlers – good Catholics in the case of the first farmers of the Innisfail Estate – to move in with an illusion of clean hands, deploring the violence of the unruly ones who had made their settlement possible.

    Gibson’s discussion of the Melanesians who worked on the sugar farms is also compelling. I recommend the whole book.

    Martha Ansara’s Shadowcatchers

    Martha Ansara, The Shadowcatchers (Australian Cinematographers Society 2012)

    This book’s subtitle – ‘A history of cinematography in Australia’ – might lead you to expect a dry narrative of technological change with perhaps some discussion of industrial issues, economics and politics thrown in. The dramatic cover image of cinematographer Lacey Percival shouldering a Model 2709 Bell & Howell camera while picking his way over rocky terrain does, however, suggest something else.

    Fortunately, the image is more truthful. There is plenty of text, including ample technical information (how else would I have known that was a Model 2709 Bell and Howell?). There are essays on the history of movie making in Australia (based on extensive interviews as well as documentary records), biographies of a number of significant figures, eloquent quotes from some of the key players. But this is actually a gorgeous, exuberant picture book. In her introduction, Martha Ansara, herself no mean cinematographer, says that the photographs were generally chosen not because of the ‘importance’ of their subjects but ‘because of the expressiveness of the image itself’. If this meant that some highly acclaimed cinematographers didn’t make the cut, I guess she was prepared to live with the fallout. From my perspective, the decision has paid off brilliantly: page after page, image after image, the book is a delight.

    I’d heard of Frank Hurley (the first person to film Antarctica), Damien Parer and Neil David (war cinematographers, who died on the job), John Seale and Russell Boyd (whose names keep tuning up in credits of great mainstream movies), but would have been pressed to name many more. From the dedication page, with its list of 20 Australian cameramen who ‘lost their lives catching shadows’, presumably covering conflict, the book was a revelation and an education. There’s an image from 1906 of the Salvation Army Limelight  Department Staff, complete with slouch hats. There’s a naked ABC film crew, backs discreetly to the camera, shooting on a nudist colony in 1971. Another news crew wades, water up to their armpits, through a Papua New Guinea swamp in 1974 carrying a salvaged reconnaissance camera.

    Plenty of TV news is here, and some commercials, but I was most captivated by the images from film shoots – Withnail and I (DOP Peter Hannan) or Driving Miss Daisy (DOP Peter Jannes), say – where the actor in full character  exists in a parallel world with the person focused on the task of making the image work. Or the ones from movies like The Tale of Ruby Rose (DOP Steve Mason) where the landscape was such a powerful presence, and here we see the crew, or perhaps just the director and DOP, going about the business of capturing it.  The effect is not so much to demystify the magic of the movies as to extend it.

    I haven’t read the whole thing yet — I bought it as a birthday present for my son, and now I’m tempted to splurge and buy a copy for myself. It’s a wonderful book, but don’t take my word for it. It has its own web site, complete with sample pages. If that doesn’t whet your appetite,  I guess you haven’t got a pulse just aren’t into the movies

    Barry N. Malzberg’s Galaxies

    Barry N. Malzberg, Galaxies (1976, Carrol & Graf 1989)

    A while back the Art Student and I went to the Gleebooks launch of a book called something like The Brain, at which the author spoke entertainingly about hypergraphia, or perhaps graphomania, which he said was a biologically-based disorder suffered by, among others, Dostoevsky, Shakespeare and Cervantes. We came away knowing little about the book, but the fantasy that a deformed hypothalamus or whatever was responsible for the creation of Raskolnikov, Hamlet and Sancho Panza has a certain lasting, sick appeal. If such a condition existed, Barry N. Malzberg would be one of the few recorded sufferers to have recovered. He wrote a phenomenal number of books in his 20s and 30s and then, apparently, pretty much stopped.

    Galaxies is a multifaceted, challenging, joyous, anguished outpouring (or perhaps, though I doubt it, carefully crafted facsimile of an outpouring). It begins, ‘To define terms at the outset, this will not be a novel so much as a series of notes toward one.’ The writer, referred to throughout in the third person, is a hack writer of science fiction and other genre, as Malzberg was, and there’s plenty of complaining about the pay levels and other drawbacks of the life. In the novel, a spacecraft carrying a cargo of 515 cryogenically preserved dead people, falls into a ‘black galaxy’ and its sole crew member lives seven thousand lives, converses with a trio of mechanical Job’s comforters, and finally makes a decision. But there are also the notes, which shoot off in all directions – lampooning the conventions of science fiction, canvassing the relationship between it and literary fiction, between it and science, discussing the craft of writing, all with tremendous energy and reflexive irony.

    What he has to say about science fiction may be dated. I don’t know enough to say. I imagine a knowledgeable reader would enjoy this even more than I did – certainly I got a kick out of the references I did spot. For example, talking about the kinds of fate that science fiction hacks can expect, he gives examples whom he calls A, B and C. It was fairly clear to me that the first two of those innocent sounding letters actually stood for Asimov and Ballard. Later in the same paragraph he refers to himself as M, confirming the suspicion and capping the joke.

    The book is funny and serious and pained and exuberant. On almost every page there are paragraphs that cry out to be quoted. I finally weakened towards the end of the book and folded down a page on this:

    Success teaches nothing; failure presents limits, gives us the tragic sense without which understanding is impossible. Successes are composed of a thousand failures like the way the photographs in newspapers reduce on inspection to myriad scattered dots, each expressionless, all comprising vision.

    Robert Adamson on Francis Webb

    Someone emailed me a link announcing that Robert Adamson, UTS Chair of Poetry, was giving a public lecture on Francis Webb on Thursday night. How could I not go? As far as I know, UTS – University of Technology Sydney, whose main tower is Sydney’s monument to stark practicality – doesn’t offer any poetry courses, and the prospect of Adamson, anything but stark or practical in his poetry or his person, lecturing on Webb, ditto with bells on, was irresistible.

    It turned out to be a fairly intimate affair in a shiny new building across the street from the anti-poetic tower. I recognised a smattering of poets and other writers, scholars, editors and UTS lecturers. I sat at the front, and my neighbours turned out to include Juno Gemes, Adamson’s photographer wife who discreetly plied her trade, Toby Davidson, editor of the new, excellent Francis Webb: Collected Poems, and Michael Griffith, who wrote God’s Fool, the best and only booklength introduction to Webb’s life and work. I’m not suggesting it was a family affair. The room was full, but I don’t think many of us were there without a prior connection to Webb, Adamson or UTS’s Centre for New Writing.

    Adamson, whose CAL-sponsored professorship is for three years, began with a disarming list of thankyous – including to poet Martin Harrison for explaining to him what a lecture was. I hope the lecture is somehow made available, as it was a very clear account of Webb’s life and work, informed by a deep engagement with the poetry and a brief but significant personal relationship with the man. He read a number of poems. I’d say he read them brilliantly but that would give the wrong impression: he read them slowly, almost stumblingly, as if he was discovering them as he read them, or even encountering the language itself for the first time, mispronouncing an occasional word (couch in couch grass to rhyme with crouch, impotent with the emphasis on the second syllable), so that the listener was drawn in as a collaborator rather than being cast as a recipient. I find it hard to imagine a better way of reading this poetry.

    In the excellent Q&A, freed from his written text, Adamson loosened up and spoke more personally: of how Webb was crucial to his own development as a poet, of how James McCauley looked him in the eye and said, ‘You’re on the right track with Webb – follow him instead of these Americans, of how he and his friends turned up like rockstar fans at Angus & Robertson’s bookshop the day the first Collected Poems was published, only to be told, ‘We publish it, but that doesn’t mean we have to have in here for sale.’ He gave a very funny, and accurate, account of A. D. Hope’s article on Webb: ‘Hope was a vitalist, and suspicious of Webb’s religious dimension, but he discusses the poem Canobolas, saying, “Look, he sees the mountain as a naked woman, so he must be all right, he’s one of us.”‘

    Penguin Plays Rough, the book

    Pip Smith (editor), This Is the Penguin Plays Rough Book of Short Stories (Pip Smith, 2011)

    Since 2008, first in a room in a flat above a convenience store in King Street, Newtown, and then in the front section of a warehouse in St Peters, Pip Smith and her housemates have hosted Penguin Plays Rough – a series of monthly short story readings. I’ve been twice, and each time has been a joyfully mixed bag with an appreciative mostly inner-west, mostly young crowd.

    A number of pieces were written especially for the book, so it’s not so much a ‘Best Of’ as a print equivalent of the anarchic creativity of those evenings, a showcase for the PPR talent. The text doesn’t lie quietly on the page as in a well behaved book. Each story is set in a different font, ranging from 8 to 24 point. One seems to have been hand lettered on note paper and scanned in. One (which I found unreadable) is laid out as a Wikipedia entry. Each has its own illustrator, and the range of graphic styles is impressive (email addresses and web sites are listed at the back).  It’s a shining example of self-publishing.

    And it’s a good read. Fidel Castro walks in its pages, along with Johnny Cash, Lot from the Book of Genesis, Emanuel Swedenborg (in his own words), Tariq Ali, Cosmo Kramer and the characters from The Wonder Years. Some startling pieces seem to run close to memoir. There are well-made stories,  a film pitch, a playlet, some cut-ups.

    It’s probably a generational thing that there’s quite a bit of explicit sexuality that seems to my aged sensibility to owe quite a bit to sustained exposure to porn. Zoe Coombs Marr’s ‘Genesis’ is a kind of Biblical fanfic whose subtitle gives fair warning: ‘The story of Lot, comprising the invention of buggery; the downfall and destruction of Sodom and Gomorrah; Lot’s family’s flight to the mountains when his wife is turned into a pillar of salt; and his date-rape by his daughters in a cave’. The photographs illustrating the story are tactfully low res. If you have a low tolerance for misogynistic porn, do not read Luke Carman’s ‘All That Pap’, a memoirish piece that includes shocked adolescent exposure to some of it. It’s possibly relevant that when the Sydney Morning Herald interviewed Pip Smith (here), they found it necessary to substitute prim little dashes for some of her evidently unladylike language.

    The stand-out pieces, to name just three in random order, are Pip Smith’s neat ‘Five Husbands’ (yes, she hosts a salon, edits a collection and also writes!), Amanda Maxwell’s pseudo horror story, ‘Playing Imaginary Cards with Jeremy’ and Michael Sala’s tale of love lost, financial intrigue and tourism, ‘The Catacombs’.

    I’ve been discovering lately that some books I bought in the 1970s would be worth hundreds of dollars now if I had kept them in good shape. Who knows what this will fetch in 2050? Sadly, I’ve already given away the gorgeous poster it comes wrapped in.

    Don Lemna Out in Left Field

    Don Lemna, Out in Left Field (Holiday House 2012)

    In one of my previous lives, when I was editor of The School Magazine, we published a series of Don Lemna’s stories under the general title ‘A Canadian Childhood’. That was in the mid 1990s. It took many years of rewriting, submitting, combining into novel form, resubmitting, relocating from Canada to Montana in the USA, resubmitting, but eventually, in 2008, some of those stories came out between hard covers in Don’s first novel, When the Sergeant Came Marching Home. I may have the only copy of that book ever to come to Australia, and everyone I’ve lent it to, of whatever age, has loved it. Out in Left Field, hot off the press, features all the same characters and a reworked version of one of those School Magazine stories, and I’m reliably informed that a third book is on the way that will take the main character, Don, into adolescence.

    It’s 1947 and Don – I mean the character, not the author, though there are surely a number of overlaps between the two – is 11. He and his family are still living on a farm, still scrimping and making do, still – in Don’s case – yearning for such luxuries as a bow and arrows, or skates that fit, or a new hockey stick. Don is an eternal optimist, forever hatching plans to raise money, to shore up his reputation at school, to persuade relatives to come to his rescue. His hopes are dashed, his plans go awry, he is plunged into deep misery – but never into despair. Meanwhile, his brother Pat, one of the most beguiling little brothers in literature, manages with more wisdom and less turmoil (though he is responsible for at least one major explosion).

    I laughed out loud many times. Any Australian children’s booksellers happening to read this: do consider getting hold of it.

    Screaming Rapture at Vivid

    I’ve been having trouble getting to the blogging desk this week, but I can’t let any more time go past without saying what a great time I had visiting Vivid down at the Quay last Friday night.

    Vivid is billed as a Festival of Light, Music and Ideas. All I’ve seen is the light. I was at a lecture on contemporary art recently where a stooped and grey-bearded gentleman decried the ascendancy of spectacularism in contemporary art exhibitions. He may have said something about bread and circuses, and he certainly did say that somehow spectacle serves the agendas of governments. So I’m uneasily aware that I may be contributing to the end of civilisation as we know it if I recommend the multi-faceted spectacle of Circular Quay just now. However, recommend it I will.

    The lighting of the Opera House Sails is fabulous: the moment when they started to flutter was heartstopping. The sails, the Customs House trompe l’oeil and  the gigantic Socialist Realist animation on the MCA are the Really Big Items, with the sunflowers and roses in the Argyle Cut not far behind. But there are any number of smaller works, many of them interactive, to enrich a stroll around the quay from now until 11 June.

    In some ways the most restrained exhibit of all is Screaming Rapture. In contrast to the bright colours everywhere else, it’s a relatively small, stark black structure with a white light inside it. All it does is respond to sound – different ones of its black louvres open in response to different frequencies, volumes and durations. As we arrived from the Rocks, we could hear rhythmic clapping, which turned out to be someone playing with it. In my brief time in front of it, a small child sang and just the top row of louvres flickered. A man shouted basso profondo and just the bottom rows stood open. I sang ‘My love is like a red red rose’, and it moved prettily. Later we heard prolonged screaming and saw the whole rectangle show bright white.

    Photo by Reuters, downloaded from hungeree.com

    There’s a nice piece on the SMH site where one of the creators, Frank Maguire, talks about it. My son Liam Ryan is another of the brains (and late night labourers) who brought it into being. It’s not just paternal warmth that makes me think that amid all the awe-inspiring (I mistyped that as aww-inspiring, and I guess that’s accurate as well)  spectacle, this piece speaks of a world where technology is at our beck and call, doing the bidding of even the smallest child.

    Neil Gaiman on the artist’s life

    A friend sent me this link. Just in case you haven’t already seen it in a hundred other places, here is a very cool motivational speech for anyone contemplating being an artist:

    I recommend you stay to the end for the best advice he ever got, which he ignored.

    Added later: Gavin Aung, of Melbourne, has done a lovely cartoon version of part of the speech at zen pencils.