Thursday, 16 November 2023

Si Monumentum Requiris

 Ever since my book* was launched on a startled world – four years ago now! – I have lived in mild dread that, on a church crawl somewhere, I'll come across a truly splendid 17th-century monument that I absolutely should have included in it. So far, this hasn't happened – or rather it hadn't until yesterday, when, on a pleasant sunny walk in Buckinghamshire countryside (surprisingly close to Milton Keynes), I was astonished to come across this very fine monument from the 1670s, which clearly belongs in my book (in the chapter winningly titled 'What Happened? (In which Much Ground is covered and the Author's Prejudices stand Revealed)'. A monument from this period is the last thing you'd expect to find in Bucks – let alone one of this quality. Standing in the chancel of St Simon and St Jude, Castlethorpe, it commemorates Sir Thomas Tyrrell, politician and judge (and Parliamentarian, but clearly his Puritan leanings did not extend to monumental masonry), and it shows him in his judge's robes. But, for all the grandeur of its framing, this is a tender and affecting composition, showing the grieving widow, with (delicately carved) tears visible in her eyes, cradling her dying husband as he rests his head in her lap. 
  Why did I know nothing of this one? Doing a bit of research when I got home, I found that it is indeed little known: Pevsner speaks well of it (and attributes it conjecturally to the London sculptor Jasper Latham; others have suggested William Stanton), but it has no mention in Mrs Esdaile, and only a fleeting reference in Brian Kemp's more compendious English Church Monuments. Neither is it featured in that wondrous volume Country Church Monuments, and I had never seen a photograph of it. 
It really should be better known, especially as it was recently restored and cleaned and is now looking its very best. Happening upon it so unexpectedly was yet another of those glorious surprises that make church crawling such an endlessly rewarding pursuit.



* The Mother of Beauty: On the Golden Age of Church Monuments, and Other Matters of Life and Death. Still available on Amazon, or direct from the author: email nigeandrew@gmail.com.

Tuesday, 14 November 2023

Julie Manet

 Born on this day in 1878 was Julie Manet, daughter of Eugène Manet (brother of the more famous Edouard) and the painter Berthe Morisot. Sadly both her parents died when she was in her teens, leaving her an orphan at 16. The poet Stéphane Mallarmé became her guardian, and she received support from friends, including Renoir, and family. At 21 she married the painter and art collector Ernest Rouart, in a double ceremony in which one of her cousins married the poet Paul Valéry. Julie lived into the 1960s, dying at the age of 87. Her teenage diaries, published in English as Growing Up with the Impressionists, are said to give a notably vivid and spontaneous account of life among all those artists and poets, including records of lively conversations about the Dreyfus affair. I must keep an eye open for it...
  The young Julie was strikingly pretty, and of course much painted, especially by her mother and Renoir. The sketch above, showing her sitting on a watering can, is by her uncle Edouard.

Monday, 13 November 2023

My Original Sin

 I am aware of 'original sin', that rather unhelpful Christian doctrine (I speak as a Pelagian in the English tradition), but until today I had no idea there was such a thing as 'original antigenic sin'. Apparently the term was coined in 1960, in a paper by one Thomas Francis Jr, 'On the Doctrine of Original Antigenic Sin'. It's to do with the body's response to infections, and has been summarised thus: ' The imprint established by the original virus infection governs the antibody response thereafter. This we have called the Doctrine of the Original Antigenic Sin' – which seems a pretty tenuous link to Augustine's doctrine, but it's certainly a catchy name. Anyway, thanks to 'original antigenic sin', there is good news (for some of us): recent research suggests that having had lots of doses of the common cold in our early years, and later, might well give a useful level of protection against the dreaded SARS-CoV-2 virus, aka Covid. I've long suspected this myself – it was one of the more marginal reasons I decided against getting vaccinated – and I wonder if it might account for my own apparent immunity (or near immunity: if I had Covid, I didn't really notice). I spent much of my boyhood and youth catching every conceivable form of the common cold, some of which hung around miserably for weeks on end. If that was my 'original antigenic sin', it seems to have paid off – which is more than can be said for Augustine's version.  


Sunday, 12 November 2023

The War in the Air

 Howard Nemerov – a poet I'm only just beginning to discover – served in the war as a pilot in both the Royal Canadian Air Force and the US Army Air Force. This poem, I think, is a fitting one for Remembrance Sunday...

The War in the Air

For a saving grace, we didn't see our dead,
Who rarely bothered coming home to die
But simply stayed away out there
In the clean war, the war in the air.

Seldom the ghosts come back bearing their tales
Of hitting the earth, the incompressible sea,
But stayed up there in the relative wind,
Shades fading in the mind,

Who had no graves but only epitaphs
Where never so many spoke for never so few:
Per ardua, said the partisans of Mars,
Per aspera, to the stars.

That was the good war, the war we won
As if there was no death, for goodness's sake.
With the help of the losers we left out there
In the air, in the empty air.

Friday, 10 November 2023

New Zealand's Coppers, Firbank's Plaque

 I have many fond memories of Wellington (a city I'll probably never see again, as daughter and family are leaving New Zealand for Canada), and among them are, of course, some butterfly memories: of Monarchs and Yellow Admirals and, at the less spectacular end of the scale, Common Coppers. I remember the first thrill of discovering that there was a thriving colony of these little beauties living among the Wire Vines on the land between the New World supermarket and Te Papa museum. I wrote about this happy discovery at the time, and about the fact that there might be as many as 25 other New Zealand Copper species yet to be identified. And today I discover from the new issue of Butterfly magazine that a research project is under way in New Zealand – the Butterfly Discovery Project – whose first mission will be, yes, to identify new species of Copper. 
  Apparently the reason so many Coppers have remained unidentified has its origins in Cook's Endeavour voyage, from which the first collected specimens were brought back to England – and promptly sold to a trader. No original specimen has ever been located, and all that survives is a 1775 painting in William Jones's Icones. From this image (in scientific terms, an iconotype) the great naturalist Fabricius concluded that there was but one species of New Zealand Copper, Lycaena salustius. Well, since then the number has swollen to four, and, thanks to the Butterfly Discovery Project, it looks set to grow considerable larger. As a result, New Zealand, with its poor tally of butterfly species (26 listed in Wikipedia), might end up with a number not far short of the UK's 60ish. 

Talking of butterflies, I was pleased to learn, from a piece by Alan Hollinghurst in the Spectator, that Ronald Firbank now has a Blue Plaque in London, on a house on Curzon Street, where the compulsively peripatetic author roosted for a couple of years with his mother and sister. Hollinghurst is a huge fan of Firbank, and his Spectator piece rightly stresses his importance as an influence – on Evelyn Waugh, Ivy Compton-Burnett, Muriel Spark, Joe Orton, Noel Coward, even Henry Green. He deserves to be recognised as a more than a 'queer icon', though he will always be a cult writer, read by few. I've always had a soft spot for Firbank myself: indeed, when going through some of my old papers recently, I found my undergrad dissertation on him (and it wasn't as bad as I expected it to be). I'm glad he has a plaque; his final resting place is 'far away from his country'

Thursday, 9 November 2023

A Literary Centenary

 I missed most of Radio 3's Shakespeare Day, marking the 400th anniversary of the First Folio (I was in transit – Worthing again) but saw enough of BBC2's Shakespeare: Rise of a Genius to know it was best avoided (i.e. about 5 minutes). There's another literary anniversary today, of infinitely less significance but worth marking – the centenary of the birth of poet James Schuyler, a leading light of the 'New York School'. He wrote a handful of fine poems, including this one – 

Fauré's Second Piano Quartet

On a day like this the rain comes
down in fat and random drops among
the ailanthus leaves—'the tree
of Heaven'—the leaves that on moon-
lit nights shimmer black and blade-
shaped at this third-floor window.
And there are bunches of small green
Knobs, buds, crowded together. The
rapid music fills in the spaces of
the leaves. And the piano comes in,
like an extra heartbeat, dangerous
and lovely. Slower now, less like
the leaves, more like the rain which
almost isn’t rain, more like thawed-
out hail. All this beauty in the
mess of this small apartment on
West Twentieth in Chelsea, New York.
Slowly the notes pour out, slowly,
more slowly still, fat rain falls.

And here is the slow movement, Adagio non Troppo, from that quartet – a movement described by Copland as 'a long sigh of infinite tenderness, a long moment of quiet melancholy and nostalgic charm'...


Wednesday, 8 November 2023

Fire

 Here is my latest contribution to Literary Review, that uniquely excellent magazine, which, as ever, I urge you to buy and/or subscribe to. Fire Weather: A True Story from a Hotter World was quite a read, telling an astonishing story – that of the Fort McMurray fire – which I had somehow never heard before...

  'Does the name Fort McMurray mean anything to you? I must admit that, until I read this book, I had only a vague idea of the place as a remote mining town somewhere in northern Canada. What I now know is that Fort McMurray is a large, sprawling urban area (not technically a city but it ought to be) in the boreal forest of Alberta, and its mining activities – extracting oil from bitumen – are on such a gigantic scale that they can be seen from six thousand miles up in space, at which height they are the only visible signs of human activity. And this whole vast area was consumed, in May 2016, by a fire the like of which had never been seen before in an urban setting – a wildfire that burned for months, spreading at terrifying speed, creating its own weather, and achieving such destructive force that it could make a house and all its contents vaporise in five minutes, leaving only a hole in the ground and a few scraps. The fire destroyed almost everything in and around the town, burnt more than two thousand square miles of forest, and in the end was the costliest natural disaster in north American history. Miraculously, no one died: nearly ninety thousand people managed to escape by car along traffic-choked roads, with fire raging all around them, smoke reducing visibility to almost nothing, and the air full of blazing embers.
  The full dramatic story of the Fort McMurray fire is vividly told in John Vaillant’s impressive new book (which follows The Tiger and The Golden Spruce). Before he gets down to the events of 2016, he relates the history of the area, back to the days of the Hudson’s Bay Company, and of the exploitation of bitumen, initially as a raw material, then as a source of oil. To get from bitumen to usable petroleum is no easy matter, demanding complex processing on a massive scale, using colossal, fantastically powerful machinery, for scraping, digging, hauling and crushing – bulldozers that can plough down a forest like mowing a lawn, dump trucks weighing four hundred tons unloaded, crushers that can devour a city bus in three seconds. This is what has created the bleak, devastated wasteland that surrounds Fort McMurray – ‘mile upon mile of black and ransacked earth pocked with stadium-swallowing pits and dead, discoloured lakes’, lakes full of contaminated water and industrial effluent. Even those who work on it compare this landscape to Tolkien’s Mordor, the realm of Sauron.
 Vaillant’s description of the Fort McMurray operation is embedded in a broader consideration of the central role of fire, of combustion, in the modern world, where a single car running at normal speed generates around ten thousand combustions per minute. ‘Observed by visitors from another planet,’ Vaillant writes, ‘humans could easily be mistaken for a global fire cult – the dutiful keepers of a trillion flames.’ And where there is fire, of course, there is risk of destruction, potentially on a terrible scale. This is especially true of what is known to planners as the WUI, the wildland-urban-interface, where town and countryside meet – just the kind of environment people want to live in, and, if that countryside is highly combustible forest, just about the most dangerous. Fort McMurray grew up amid the boreal forest, and boreal forest lives and dies, literally, by periodically catching fire, often on a huge scale. When temperatures are freakishly high and humidity freakishly low, and when a wind is whipping up, the forest is a tinderbox – and so, as Fort McMurray learned, is any town in the vicinity.
 These were just the conditions that prevailed around Fort McMurray when a fast-growing fire was spotted southwest of the town, one that, despite the best efforts of eighty firefighters, two bulldozer groups and several water bombers, proved impossible to contain. This was the beginning of the great fire that the author chronicles day by day, often hour by hour, as it moved in and devoured the town and all that lay around it. Vaillant tells the story through a detailed narrative of events as they unfolded, and through eye-witness testimony, including that of a man who, in impossible conditions, decided to take a stand and save his home. His story, and that of several others, is edge-of-seat stuff, and one is left marvelling not only at the sheer force and scale of the fire but at the courage and endurance of so many – residents and firefighters alike – and the barely believable fact that everyone got out of it alive. I could have done with rather fewer journalistic thumbnail sketches of the dramatis personae – ‘a solidly-built Albertan whose bespectacled eyes peered out from beneath a high, clean-shaven dome’ – but this is a great piece of storytelling, well paced and relentlessly gripping.
 After all this action, the next section of the book, tracing the history of climate science and of attempts to deal with a warming Earth, is quieter, though Vaillant, who sees such events as the Fort McMurray fire as omens of worse to come, infuses it with full-on apocalyptic urgency. A true believer in the ‘settled science’ of catastrophic anthropogenic climate change, he tells a tale of disinterested science nobly overcoming ignorance and obstruction, ignoring the darker alternative story of science hardening into something worryingly like quasi-religious dogma. But never mind – this is a remarkable, often thrilling book, one that would surely give any reader a deeper understanding of the nature of fire, and of its awesome, terrifying power.'