From One Master To Another - Po-on by F Sionil José

Po-on is the novel that completed F. Sionil José’s Rosales project, in which, over five books, the members of a single family appear to live out the very detail of Philippine history. Po-on does not actually start in Rosales, the fictitious town in central Luzon that gives its name to the saga. Here we start in Ilocos, a northern region apart, with its own language and culture. At the outset, we learn from an old Spanish priest that a local Cabugaw sacristan, Eustaquio, shows much promise and is recommended for the priesthood. But we also come to know a local lad called Istak. He is a devout Christian, but also deeply rooted to the traditions of his people and family. As a devout Christian aspiring to the priesthood under a baptismal name, he remains an Ilcano allied to the faith of his colonial masters. Istak’s father has lost an arm. It makes life as a peasant farmer quite difficult. The circumstances of that loss have been unclear to the wider family. And, when the old priest moves aside to allow a younger, less paternalistically-minded man to assist with business, the family’s relations with the Church change. What unfolds is a metaphor for the whole relationship between Filipinos and Christianity, a description of a desire to become the church’s faithful servants being exploited by raw power employed cynically to secure economic and political gain. Status, of course, is at the root of everything, and a poor peasant tends to be short of that particular commodity. There is a fracas and the family has to move. They flee south, joining forces with others who have nothing to lose. They run the gauntlet of the Spanish military police, the guardia civil, and they survive. But there are real trials and tribulation along the way. It is, of course, Rosales where they settle. It’s a town that provides opportunity in the shape of a plot to rent and another that can be claimed after clearing. Thus, with a new identity in a new location, the displaced family can create a new life. And, just as they start to discover this new lease of life, their nation claims release from Spanish domination and Americans arrive to take control. But initial euphoria gives way to further struggle as the new masters declare their intention to change the methods, but still to retain the control of a colonial ruler. And, just as the family fled to Rosales, to new opportunity, there emerges for Filipinos as a nation to need to seek a new future where Filipinos will have control over its own destiny. Thus Po-on brings us into the American era and the early years of the twentieth century: Po-on is historical fiction at its best, in that it brings history alive, alive in the lives of its characters.

Lucky by Alice Sebold

It is possible to start reading Lucky by Alice Sebold under the misunderstanding that it is a novel. As the opening pages unfold with their description of a violent rape, it might be just another crime novel. The horror is tangible, the sensations evoked predictably nauseating. A few pages later, when the reality of the book’s memoir becomes clear, however, the initial reaction seems to become one of embarrassed over-statement until, that is, the work’s true and admirable complexity begins to emerge. Alice Sebold was eighteen years old when she became a rape victim. An academic father and an unpredictable mother had been perfectly good parents, despite their own failings or limitations. Similarly, it seems, Alice Sebold became a complex victim, on the one hand the completely innocent and wronged party who had been wantonly violated by a violent criminal, but yet on the other a person who somehow, via her own quite unremarkable behaviour and lifestyle, could not immediately endear herself, even via her victim status, to those who might offer sympathy or assistance. Perhaps sympathy could never have been enough to diminish the grim reality of Alice Sebold’s experience. Only empathy might have helped, and that was largely impossible. But the subtlety of Alice Sebold’s account of her experience of rape and its aftermath is precisely her ability to empathise with others who had similar experiences and who had, at one stage or another, fallen victim to one of the pitfalls on the way to justice. There is the subject of consent, of course, an issue that cannot really be judged when no-one else was present at the time. There is the issue of identification and having to be confronted again by the assailant. There is the issue of character and trustworthiness of the victim, qualities that inevitably are clued from lifestyle, attitude and deportment. And where does consideration of such things lead when the act of rape was not actually conducted at knife-point, when the victim cannot identify her assailant and when she openly begins to sleep around, use drugs and get drunk? Alice Sebold’s Lucky deals with all these issues and deals with them with subtlety and interest. But overall the victim’s involvement is paramount and it is this sense of sharing in the experience that is the book’s greatest and perhaps enduring achievement. There is doubt and insecurity to be lived through, alongside the continuing pain, as well as revolting physical and mental horror. Lucky takes the reader frighteningly there in an engaging and compelling way. Sometimes life takes you where you do not want to go. We are not blessed by such experience, only by the ability, eventually, to cope with it.

Girl With Green Eyes by Edna O'Brien

It is fifty years since Edna O’Brien published Girl With Green Eyes. It is conventional nowadays to regard the late 1950s and early 1960s as an era when sexual liberation was beginning. This may be accurate. Certainly the men in Edna O’Brien’s novel seem to bear no little responsibility for any of their sexual activity, whilst the women, who are usually willing partners, take all the risks and bear all the responsibilities. The girl with green eyes uses several versions of her name. They appear to be applied randomly. She is whoever circumstance demands. She is Cait, Caithleen, or even Kate, depending on who is speaking, or where and when the action happens. Cait was previously one of the girls who were Country Girls and the Girl With Green Eyes forms the second part of a trilogy following these young women’s progress from rural assumptions to urban freedom, of sorts. In Girl With Green Eyes the young women have moved to Dublin. Events take Cait, just twenty-one, and a mere student in today’s paradigm, back home to the country and then back to town again. She has taken up with Eugene. He is older than her and, God forbid, married – even with a child. The wife lives in America – where else for the separated? – but she always seems close at hand and something of a threat. Cait has completely fallen for her male elect and news gets out. A rescue party from the country arrives to whisk her off back to the protection of home in the west, where alcoholism and threats of violence keep the peace. Her father drinks all day, but then he’s a provincial sort. He may be excused, since he rules his fiefdom. He will hit anyone to protect what needs protecting and daughters are usually top of the list. Cait describes most of her experiences in the first person. Her friend gets pregnant and has to deal with the consequences. Despite all such practices being utterly illegal at the time, everyone seems to know where to go, how to secure the service and what it costs. In general, the women involved seem utterly dependent on securing a man to provide for them, and seem to live at least half in fear of the urges that propel them. There is this ambivalence within all the relationships. The men are keen to go where they want, but generally do not negotiate on the destinations. The women seem keen to explore, but never journey on their own terms, apparently preferring to be taken along with the ride. By the end of the book, there have been changes in Cait’s life. It seems that these changes anticipate the changes that will begin for women in wider society, but in Girl With Green Eyes such progress has achieved only limited changes in women’s expectations of life. The novel thus subtly mirrors what we must assume prevailed in wider society at the time. It thus presents a contemporary reader with a historical perspective that its author perhaps did not consciously consider at the time. It is surely a richer experience for this added dimension.

A Barcelona experience - Antoni Gaudí by Rainer Zerbst

Rainer Zerbst’s book, Antoni Gaudí – The Complete Architectural Works, is just what it says, the complete works. Treated chronologically and in turn, each of the architect’s major projects is reviewed, described and analysed. Copious illustrations allow the reader to appreciate the often fascinating –and usually fantastic – detail that Gaudí used. The text, elaborate, itself florid in its description, conveys not only the colour and the shape of Gaudí’s work, but also its intent and derivation. Though it concentrates on the buildings, their features, their detail and their innovations, Rainer Zerbst’s book does deal quite adequately with Gaudí’s background and inspiration, though it does not attempt to be a biography.

It may come as a surprise to many readers that it was England and English art that provided the young architect with his model. The theories of Ruskin advised a return to direct contact with nature. The Pre-Raphaelites resurrected both the Gothic and colour, and also employed minute detail throughout a work rather than invite total concentration on a single, artificially-lit central subject. And then William Morris and the Arts and Crafts movement provided the social and industrial model that aspired to put art at the centre of everyday life. Finally, and not least, it was the English tradition of the ornamental garden that inspired Gaudí’s treatment of broader settings. All of these influenced the young Gaudí. And at the time he was seen as a something of a radical.

Later, when, if anything, the architect’s style became more fluid and less self-conscious, he had already shaved off his beard and cut his hair in order to aspire to membership of the local establishment. In England, the once revolutionary Pre-Raphs had largely done the same. In presenting Gaudí’s woks chronologically, Rainer Zerbst is able to chart the development of the artist’s style, both personal and professional. The reader can follow the development of a style, see how ideas came to maturity and then were re-used and re-applied. The reader can also clearly understand how Gaudí’s work anticipates both Dalí and Miró, both in its content and its use of colour.

Placing minor works together in a final chapter, however, has the feel of afterthought and does detract from the overall experience. For anyone who has visited Barcelona and has seen some of these buildings close up, this book is a must. It really does fill in the detail that a casual observation would surely miss. And for anyone who has not yet visited the Catalan capital, Rainer Zerbst’s book, Antoni Gaudí, could conceivably provide the stimulus to make that visit at the first available opportunity. Gaudí’s work is something that is thoroughly worth real-life experience. Only in the rather scant treatment of Sagrada Familia is the book rather wanting, but then an adequate description of such a project would be a book in itself. Sagrada Familia, like the man who conceived it, is unique.

The Whole Day Through by Patrick Gale

The Whole Day Through by Patrick Gale is an extremely well written love story. It is so well written that at times the gentle gradients of its landscape remind one of being driven through Holland. An occasional abyss or ravine would be welcome. Laura used to be Lara. She inserted the ‘u’ because of the regular ribbings at school over Doctor Zhivago. It was clearly that sort of school. Mummy and daddy were pretty accomplished people, mum eventually a professor of virology. Daddy, poor daddy, never made it above a lectureship in social sciences – or something - in a poly. 

These are now all called universities, but we all know that the class labels still attach. They were a naturist family and took their clothes off at every opportunity. Daddy died. Daddies do. Mummy is now in need of assistance, even when naked in the garden, which these days is well walled. Laura did not manage maths at Oxford, poor thing. She blew it. But being able to add up led her to a pretty good career as a freelance accountant. Ability to work at distance allowed her to spend a good deal of her time in Paris. There were relationships. None endured.

Well, they all did, and then didn’t. She is now back with mummy. Ben was one of Laura’s old flames. He too was into viruses and once met Laura’s mom in a professional capacity. He now works with sexually transmitted diseases. He moved on from Laura and married Chloë, who has a funny thing on the end of her name. Things have not gone well of late. The marriage is suffering something of a lull. So, after many a year Ben and Laura’s paths cross again. Their encounter lasts a day and promises to endure.

But Ben has his own responsibilities. Bobby is his disabled brother and he needs support. He seems able to look after himself on the gay pick-up scene, however, and manages to put himself about quite a bit. Treatments are available in-house, after all. Between them, these characters build up understandings and misunderstandings, but there is very little to surprise. At least non-one seems to have a food fad. The book is an easy and enjoyable read, but somehow the people never really come alive. Patrick Gale tells us about their pasts, their families, their relationships, occasionally their fears or achievements, but somehow the sensation is reminiscent of pieces being pushed around a draughts board. It is certainly not as sophisticated as chess, and the moves seem, well, predictable. And that is the problem. These people ooze an under-stated middle class confidence, but they come across as smug, uninteresting and rather self-satisfied. Endearing they are not. They do elegantly populate a story, but their passions are so terribly English. We might pass time of day, but do not expect any part of the experience to offer anything memorable. Perhaps that’s the point.

A Mad World, My Masters by John Simpson

In A Mad World, My Masters John Simpson presents a set of observations and anecdotes drawn from a near lifetime of reporting for television news. Over a career spanning decades, John Simpson has worked on many of the major stories of recent history. He has covered conflicts, such as the Gulf War and the Balkans, general interest stories, such as Hong Kong’s transfer and the new millennium, and more general issues such as such as the drugs and arms trades. But it is John Simpson’s contact with political leaders and heads of state that adds real spice to these memoirs, some of his contacts proving decidedly surreal, all of them offering unusual insight. The book is organised around themes, such as journeys, villains, spies, bombing and absurdities. This allows the presentation of similar kinds of experience derived from different trips. It does also facilitate the reading of the book via casual dips. A consequence is that the whole experience becomes rather episodic. 

Apart from the sometimes tenuous theme, there is little attempt to create a consistent, general narrative. Again this facilitates the casual read, but it might antagonise a reader who wants a tad more reflection from the author. The thematic arrangement also means that on several occasions the reader re-visits a trip, leading to some inevitable repetition of material. This, however, is kept to a minimum and does not detract from the overall experience if an occasional feeling of impatience is ignored.

Thus far this review has sounded like a lukewarm reception, but this would be far from the truth of the experience. The book’s subject matter alone is thought-provoking, stimulating and enlightening. In addition, John Simpson’s own observations are quite wonderful. And this mix is persuasive. The reader feels that the book “takes you there” rather than “tells us what it’s like”. It is the vividness of John Simpson’s recollections and related experience that brings so much of the subject matter completely to life that we feel we might have smelled Gaddafi’s flatulence, sensed a Peruvian mayor’s danger or felt an Iraqi Kurd’s bitterness. Anyone familiar with John Simpson’s exemplary reporting for the BBC will expect these anecdotes to contain more than trivia or merely personal experience, and, thus, will not be disappointed. But it is when the author deals with the mechanics and technicalities of news gathering that some of the more vivid experiences appear. We often forget that the process is dangerous, tiring and relentless if the product is to contain even a grain of interest. Throughout, John Simpson acknowledges the difficulties, but he also always recognises the contributions of others to the teamwork that is clearly essential to the process.

This book has much to offer to anyone interested in recent history or current affairs. Even those who are unfamiliar with the author’s broadcasting work will discover engaging and arresting perspectives on many issues and, in some cases, there will be analyses that will question some generally accepted positions. The book may be a little too long, but its consistent high quality ensures that this is barely an issue.

Arte Español Para Extranjeros by Ricardo Abrantes, Araceli Fernández, Santiago Manzarbeitia

Arte Español Para Extranjeros by Ricardo Abrantes, Araceli Fernández, Santiago Manzarbeitia is a superb idea, an excellent read and a perfect way of practising the language. The book charts chronologically the eras and styles of Spanish art. It starts with the pre-historical and archaeological, travels via the Iberian period, the Romans and the Visigoths, to the centuries of Islamic art and the Romanesque. By the time we have reached Gothic art, we almost feel we have come up to date. The Renaissance was not as big an issue in Spain as elsewhere in Europe, but the Baroque flowered and led into what the authors call the modern era. Goya is presented quite convincingly almost as a Beethoven of painting, in other words a figure from whose work almost two hundred years of future development can be traced. Picasso, Dali and Miró bring us into the contemporary era and the book’s final pages present abstract expressionism and works of Chillada.

The Spanish text is immediately accessible. The descriptions are succinct and clearly written. Technical terms are included in a useful glossary whose definitions could not be more accessible or better written. Though there are copious illustrations, this is no mere picture book. The examples have been included to illustrate the text and they carry out the task admirably, thus offering quite remarkable clarity to the excellent descriptions of style, technique and content.

What is so intriguing about Spanish art, the fact that separates it from the rest of Europe, is the Islamic period. Artistic and literary achievements in particular during those centuries have continued to influence both Spain’s cultural life and its language. No other European country has this complexity. Too often, however, the Islamic period is presented as something separate, something overcome and wholly in the past. This is not so in Arte Español Para Extranjeros. Not only via references to mozarabe and mudejar, but also by noting how stylistic elements were adopted by Islamic, Christian and Jewish artists and architects, the authors manage to present a portrait of Spanish art that represents a real synthesis. A visit to the National Museum of Catalan Art (MNAC) in Barcelona would point out how the resplendent Gothic period of religious painting in Spain owes much to contact with northern Europe, Flanders in particular, and little to Italian influence.

In Arte Español Para Extranjeros the text presents this relationship with great clarity and also adequately describes the political and trading context that led to these influences prevailing above those from the geographically closer Mediterranean areas. Non-native Spanish speakers who have even the remotest interest in the arts will find this book captivating and useful in two ways. First its very accessibility makes it a perfect vehicle for the language learner to improve reading skills and vocabulary. But on another level, the book’s ambitious project really does deliver clear, interesting and enlightening observations on style and influence. Arte Español Para Extranjeros was a very ambitious project that could so easily have failed to deliver. In the hands of its three authors, however, it has delivered an almost faultless success.