Showing posts with label Alice Munro. Show all posts
Showing posts with label Alice Munro. Show all posts

Sunday, 27 October 2013

Sunday Mornings: Coffee, Reflections and Music

Old age is a faraway land full of wrinkled, drooling, absent-minded, incontinent and senile inhabitants. It’s the penultimate stop before the terminus. Actually, it is the last stop for some.

Those words are not mine. In fact, they don’t belong to anyone in particular in that they are not a quote we can easily append to someone. Those words, however, partly represent our current attitude to the elderly as a society. As a youth-, beauty-obsessed society.

I am writing this post later than usual. It is normal for me to draft up my “reflections” a week or two before the Sunday on which they are due to be posted. But this time it has taken me longer to put pen to paper. Or hands to keyboard as modernity dictates. The reason for my unusual procrastination is Alice Munro’s beautiful and touching prose. Her writing had the unfortunate effect of immobilising me mentally. I knew what I wanted to write about. The question was: how? I have been familiar with the Canadian author’s short stories for some time now. And yet, The Bear Came over the Mountain, re-published recently by The New Yorker on the occasion of Munro winning the Nobel Prize for Literature had me welling up. That was before I remembered I had already seen the film based on her short story.

I then began to think that there aren’t many movies, literary works or dance pieces (to name but three art forms) around these days that address old age from a mature, realistic point of view. Either we get the forgetful old dear, the sassy grey-haired (heavily patronised, sadly), or the ageing, but still all-conquering Lothario (usually a man, obviously). Both The Bear Came over the Mountain and Away from Her, the film based on the tale, focus more on the characters and their circumstances.

In The Bear..., Grant and Fiona are a married couple about to embark on a difficult journey. Fiona is checking into a home for people in the early stages of dementia. At seventy years old, Fiona is “still upright and trim, with long legs and long feet, delicate wrists and ankles, and tiny, almost comical-looking ears”. On the way to Meadowlake, Fiona’s new abode, there are doubts and jokes. Driving past a swampy hollow, now covered in ice, Fiona remembers that she and Grant went skiing there many years before. This recollection makes Grant almost want to turn around. What follows thereafter is a heart-rending (but, luckily, unsentimental and non-cliché) exploration of the consequences of dementia, but also of what old age is.

Old age: what kind of land is it?
And what it isn’t. Old age is not a faraway land full of wrinkled, drooling, absent-minded, incontinent and senile inhabitants. It is a stage, the last one in our human life, for sure, but not less important than the ones which preceded it. Senescence is the concept they didn’t tell you about back in school because you were too busy being young. We will never be old, we tell our younger selves, with the bravado that characterises our adolescent and young adulthood years. When I was a teenager, I looked at my grandmother, with whom I still shared my flat in Havana (and with my mother, my auntie and my cousin. By then my dad had disappeared from the scene) and saw an active woman. She was in charge of the house chores, always fussing after visitors, always smiling. But I never saw myself as her. I never thought of myself as ever being her age. To me my “Mima”, had sprung up into my life in her 60s, or 70s, or 80s. Any age but a young age.

That’s what I see around me today. Not just in the UK, where the obsession to look young (or not to look old, take your pick) is taking its toll on the current and possibly on the next generation. I see that in Cuba when I visit. I have seen that in Spain and Italy where I have holidayed. Old age is stereotyped. That’s why The Bear Came over the Mountain left me mentally paralysed and unable to write. It is a different world Alice Munro writes about with very real characters. There is love aplenty in the story. Natural, ageless love. But there is also love that leads to wrong decision-making. Fiona falls for a man, Aubrey, at Meadowlake. Her mental state doesn’t let her realise that she is still married to Grant. The latter comes to visit her twice per week and becomes an unwilling witness to the development of his wife’s romance with Aubrey. The Bear,,, is a short story that hurts. It is also a story full of grey areas, because senescence is hardly a black and white issue. The movie is just as nuanced with Julie Christie in top form in the role of Fiona.

One of the many misconceptions of old age is that the elderly envy the young. I don’t believe so. Or, at least, I don't believe it is applicable to everyone. It is true that there are activities that become off limits with the passing of time. That might make some people yearn for better health and robustness. Yet, since old age is just another stage in life’s grand journey, the key word is adaptation. I am lucky in that I have three very close role models. My mother still works at the same copyright agency she joined when I was nine years old. She is seventy-six. My father, at seventy-one, still gigs as a pianist. He has been forced to reduce his working hours but his skills are as sharp as they were when he still lived with me. Lastly, my mother-in-law, who turned eighty earlier this year, still composes (she is a singer song-writer) and has an active life.

The other often mistaken notion is that old people do not have sexual lives. This is partly based on the same youth-, beauty-obsessed attitude I mentioned at the beginning of this post. The idea of big, wrinkled bellies, sagging breasts and grey, pubic hairs might be a turn-off for many. And not just for the young, mind you. However, sex is just as important to someone who is seventy as it is to someone who is twenty-seven. Perhaps what changes is the intention and the setting. I would like to believe that there is more intimacy, closeness, love and romance involved. There is a beautiful passage in The Bear Came over the Mountain that clearly proves my theory: “Grant skied for exercise. He skied around and around in the field behind the house as the sun went down and left the sky pink over a countryside that seemed to be bound by waves of blue-edged ice. Then he came back to the darkening house, turning the television news on while he made his supper. They had usually prepared supper together. One of them made the drinks and the other the fire, and they talked about his work (he was writing a study of legendary Norse wolves and particularly of the great wolf Fenrir, which swallows up Odin at the end of the world) and about whatever Fiona was reading and what they had been thinking during their close but separate day. This was their time of liveliest intimacy, though there was also, of course, the five or ten minutes of physical sweetness just after they got into bed—something that did not often end in sex but reassured them that sex was not over yet.”

Old age is not a faraway land full of wrinkled, drooling, absent-minded, incontinent and senile inhabitants. Old age is a land full of people who were once young and are now embarking on the last stage of their journey. A journey which should be as enjoyable as the ones that came before.

© 2013

Next Post: “Pieces of Me, Pieces of Havana”, to be published on Wednesday 30th October at 11:59pm (GMT)


Saturday, 31 December 2011

My Highlights of 2011

As another year comes to an end, I would like to bring to the attention of my readers and fellow bloggers the books, films, music and dance pieces that made me go "Wow!" in the last twelve months. Difficult task it is, though, as I was exposed to so much quality in 2011. I hope you enjoy my selections. Happy New Year everybody!

Books:

Andrea Levy's The Long Song is one of those novels that manages to be both entertaining and clever, rooting the story it tells on so many facts that at times it feels like a documentary. Whether as part of your (expanding) bookshelf, or as a gift for your literature-loving friends, this is a must-read.

Virgilio Piñera's Complete Plays took me down memory lane to a place where I came across my adolescent self face to face once again. What made me fall at that young age for this (supposedly) snobbish, no-nonsense, Cuban intellectual who did not suffer fools gladly, and yet always had a kind word for up-and-coming authors? I don't know but, his love for language, his fearlessness when writing, his endless creativity and the fact that he exuded Cubanness whenever he put pen to paper, are elements that must have contributed to that.

A lot has been said about James Joyce's Ulysses. It's the novel that everyone talks about but whose plot people rarely discuss. That's because there's no plot per se. The book centres on one day in the life of both Stephen Dedalus and Leopold Bloom. Above all, for me Ulysses is a very sensorial novel. We not only watch the main characters eating, brawling and (in Bloom's case) engaging in sexual acts, but we feel them, too. In a previous post I questioned Joyce's pole-high position as the pinnacle of modernism. At the time I had not read Ulysses, but now that I have I can tell you all that the hype is justified.

Naomi Klein's The Shock Doctrine is the type of book I wish it'd been fiction. But no, it's a very real piece of non-fiction. Which makes it the scariest piece I've read for a long time. Naomi carries out a thorough analysis of the economic ideas sponsored by the Chicago School under Milton Friedman's tutelage and traces their links with oppressive regimes across the globe.

Alice Munro's Too Much Happiness was the second book of short stories I bought by the Canadian writer and it like Open Secrets, it didn't disappoint me. She has a way of making the quotidian lives of citizens in and around Ontario extraordinary. But be careful, her fiction is brutal and takes no prisoners.







Music:

This was the year when I managed to have a proper taste of Anoushka Shankar's music. And what a treat it was! The two albums I bought, Breathing Under Water and Traveller have been playing on a loop at home, in the car and on my mp3. Breathing Under Water, where the star sitar-player teams up with percussionist Karsh Kale, is highly lyrical and rooted in Indian classical heritage.
Traveller brings the flamenco tradition back home (it has been widely acknowledged that flamenco has its origins in India) in an organic and fluent way.

The 1956 collaboration between the saxophonist Ben Webster and the piano prodigy Art Tatum, supported by Red Callender on bass and Bill Douglass on drums, was called simply The Legendary: the Album. Such a grandstanding title might attract accusations of hubris, yet each and every single note on the record is pitch perfect. If you like jazz, you must buy this album.

Three records later I consider myself a Concha Buika fan. Her voice should carry a health warning: "Quality on board! Consume carefully". This time around was "La Niña de Fuego" that got me. Concha possesses the type of vocal range that can soar or soothe, depending on its owner's will. Fabulous.

Calima Flamenca was my little surprise this year. They were the wild card about whom I knew very little, mainly through last.fm, and who ended up providing me with two of my favourite tunes of the year from their album Al Calor de la Noche.

Films:

I first saw Missing many years ago and watched it again recently with my wife, courtesy of Lovefilm. Against the backdrop of what's happened in Iraq and Afghanistan in the last ten years with British citizens being arrested and tortured abroad, the movie has a prescient feel. Jack Lemmon is mesmerising as the American, law-abiding, conservative father whose son is "disappeared" in an unnamed country in South America (but we all know it's Chile) and who is forced to acknowledge (with a little help from his daughter-in-law Sissy Spacek) the ugly truth about the US involvement in the dictatorships that sprung up in the 60s, 70s and 80s in the region.

There's not much beauty in Biutiful, by the acclaimed Mexican director Alejandro González Iñárritu. What there is, though, is a hell of a powerful script and a terrific performance by Javier Bardem as the heartless criminal who at the same time is concerned about the wellbeing of the illegal Chinese immigrants he himself exploits. Impartial and raw.

I had some misgivings about watching The King's Speech because of the buzz surrounding it. Plus, 2011 was the year when the monarchy got its mojo back. I, for one, neither Republican nor pro-Crown, didn't want to be a part of it. But The King's Speech is cinema at its best. No gimmicks, or CGI, just a plain, simple story, beautifully acted by Colin Firth and Geoffrey Rush (Helena Bonham Carter gets a look-in, but hers is a minor role) and capable of awakening feelings of mirth and commiseration.

The Secret in Their Eyes was the type of movie that reminded me of how good Argentinian cinema was. Ricardo Darín plays Benjamín Esposito, a retired legal counsellor, who wants to write a novel in an attempt to close a chapter of his life that remains unsolved. Throw in a psychopath, a dictatorship, a corrupt government official and an unfinished love affair and you have one of the better Latin American movies in recent times.

London River tells the story of Elisabeth (played by Brenda Blethyn) and Ousmane (played by Sotigui Kouyaté) whose offspring are killed in the terrorist attack on 7th July, 2005 in London. What starts as hatred, ignorance and racism is eventually transformed into understanding and sympathy. A movie I would watch again.

Dance:

If with Into the Hoods, Katie Prince and ZooNation conquered the West End of London, with Some Like It Hip Hop she has elevated the urban dance form to new levels. Based loosely on Some Like Hot and Shakespeare's Twelth Night, Some Like It Hip Hop deals with mistaken identity, lost daughters and rulers in crisis. The acting is good, the story believable but the dancing, oh, my, oh, my! The dancing is out of this world. Enough to become my dance highlight of 2011.



What will 2012 have in store for me artistically speaking? I don't know but what I can assure is that the quality will be the same or higher. See you next year!

© 2011


Next Post: “From Here, There and Everywhere…”, to be published on 8th January at 10am (GMT)

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