Author: Etcetera

Simon Winder’s Germania: a scrumptious read for the Wanderlust-afflicted

Simon Winder’s Germania: a scrumptious read for the Wanderlust-afflicted

Sometime between traipsing along the Harz Mountains’ Grimm-like forest trails and tucking into a frothy beer at yet another charmingly nondescript rathskeller, Simon Winder casually mentions to his undoubtedly nerdy reader: “There could be an argument that this entire book should be understood to be in brackets.” Indeed, it takes a special sort of enthusiasm (for such a complicated country as Germany, no less!) and a special skill-set of hunting for precious trivia of insight in the crevasses of pompous historical brass to produce such a bursting beehive of architecture, history, folklore, Prussian militarism, Viennese nostalgia, cuisine, music, cabinets of curiosity, chocolate with ostriches, turrets, suspenders, and oompah.

Winder takes us across Germany, from the Roman times and until the morbid 1933 (although I do wish he’d continue until Goodbye Lenin! era or, if he’s feeling particularly ambitious, all the way to the Age of Merkel, arguably the other great leading female German since little Sophie Zerbst aka Catherine the Great). Much like his other fantastic book Danubia, Germania is a historical narrative knitted out of love and compassion, with generous attention paid to stuff from the arcane margins, from weirdo backwaters, from the cornucopia of Germany’s “doll’s handkerchief states,” ancient homes of Wagnerian heroes in bearskin, now reduced to comfy second-rate magnets for the middle-aged tourist whose poorly disguised modus operandi involves “sitting in groups around tables, eating astonishing amounts of sausage and cake, drinking massive glasses of lager and smoking furiously.” Stumbling in this gluttonous stupor one will inevitably walk into yet another painfully picturesque Schloss, at which point Winder will lovingly guide his reader up the winding staircase and into:

“… an attic room filled with wigs, pictures of basilisks, a giant model of the solar system, pickled geckoes, a little dog made out of seashells, wax heads, a dried cow-fish, a speculative engraving of the Ark of the Covenant, an opium pipe, shoes from around the world and, hanging from the rafters, the best and biggest stuffed crocodile ever, an ancient, gnarled Behemoth which, if it fell to the ground, would detonate in a great cloud of evil-smelling dust.”

From his ridiculously adorable glee over a nautilus-shaped drinking cup, to vivacious awe at the sight of a four hundred year old King of Sweden’s horse in an Ingolstadt museum, to a poetic moment on a Freising trek to the oldest brewery in the world where Winder feels like he’s walking through Breughel’s Hunters in the Snow, one can only feel pure envy at his unbridled passion. May we all feel as strongly about our hobbies, interests, and fancies, for it would truly be the most delicious sort of life to live – a joyous wanderer with a massive heart, a contemplative mind, and a stomach tough enough for this:

“I once went with some friends to a traditional Frankfurt restaurant which turned out to be a sort of a temple to German hard-core, with undrinkable apple-wine and guests greedily tucking into blocks of lard on black bread. On the disturbingly narrow menu, the only choices seemed to be between cuts of hot fatty  ham served with the notorious Frankfurt ‘green sauce’ (an old enemy – vinegared chopped herbs), yet another bratwurst of a kind that even I was getting bored with, or something described as a ‘slaughterhouse platter.’ In a spirit of fatalism I went for the platter. This turned out to be a central ridge of sauerkraut flanked by two skin canisters, sealed with metal surgical clips – the one filled with blendered liver, fat, and water, the other with blood and a kind of mealy material. Sticking a fork in one cause the canister to detumesce, jetting its content over the sauerkraut.” 

The man should do restaurant reviews.

Image: Nose Dance, by Hans Sebald Beham (1500-1550).

Jill Alexander Essbaum’s Hausfrau: domestic ennui on the foothills of the Alps

Jill Alexander Essbaum’s Hausfrau: domestic ennui on the foothills of the Alps

This was supposed to be a bit of light-as-Devonshire-cream reading, a fun refresher for a lazy weekend. Instead, it turned out to be a captivating page-turner about depression. On the surface, it’s a well worn out trope, standing on the shoulders of giants like Flaubert’s Madame Bovary, Tolstoy’s Anna Karenina, Bronte’s Madwoman in the Attic, all the way down to Sylvia Plath and her “domestic surreal.” A woefully unfulfilled housewife Anna Benz is tumbling down the nauseating rabbit hole of tepid, monotonous, safe, sated, comfortable middle-class life and all of its requisite trappings. There’s a picture-perfect house tucked in a village near Zurich. There’s the Swiss banker husband, reasonably kind, reasonably good-looking. There’s the kids, suitably sweet, and a statuesque mother-in-law hovering ever so diligently somewhere on the horizon peppered with school runs, play dates, and zoo excursions. Kinder, Küche, Kirche, living strong and proud in the land of scrupulous financiers, punctual trains, and premium chocolate.

The reader is never explained what is the poison festering under such picturesque a facade (there are some scant nods to childhood trauma, but not much to go on). We are only led to accept the facts – Anna Benz is a serial cheater, engaging in infidelity with a mechanical rigour of an athlete. She finds little comfort or solace in this walking on a razor’s edge. Instead, there’s only desperately delicious darkness, thick and viscous like licorice.

Leafing through these litanies of busy nothings, the reader just knows something is coming. A jolt. A bolt of lightning. A catharsis. The only thing left to unveil is whether this is going to be the kind of seminal event that gifts redemption, or the final plunge into the abyss.

“Grief is not simple sadness. Sadness is a feeling that wants nothing than to be sat with, held, and heard. Grief is a journey. It must be moved through. With a rucksack full of rocks, you hike through a black, pathless forest, brambles about your legs and wolf packs at your heels. 

The grief that never moves is called complicated grief. It doesn’t subside, you do not accept it, and it never – it never – goes to sleep. This is possessive grief. This is delusional grief. This is hysterical grief. Run if you will, this grief is faster. This is the grief that will chase you and beat you. 

This is the grief that will eat you.”

Jill Alexander Essbaum, Hausfrau

Two themes run in powerful streams through the heart of this book – psychotherapy and German grammar. Outside home, her therapist and her German classes are just about the only nodes on an otherwise barren network of Anna’s activities. Rolling off the tongue of Anna’s therapist are nods to Jungian mono-myths and origins of pragmatic Swiss mentality, and to Freudian dream interpretation. Dawdling over her German homework, Anna feels the clinical solitude of these complicated language rules: “The disconnect between ‘general’ and ‘specific.’ The vast, vapid chasm that divides ‘this particular one’ from ‘some of them.'” This language evades Anna, contributing massively to her alienation in this picture-perfect country:

“She thought about Switzerland. Where a smile will give you away as an American. Where what isn’t taboo is de rigueur. Cold, efficient Switzerland. Where the women are comely and the men are well groomed and everyone wears a determined face. Switzerland. The roof of Europe. Glacier carved. Most beautiful where it is most uninhabitable.” 

Jill Alexander Essbaum, Hausfrau

Anna, she says, “was a good wife, mostly.” Alas, depression doesn’t care much. And even in punctual Switzerland there are days when all trains run late well into the night…

Image: Nonchaloir, by John Singer Sargent.

Czeslaw Milosz’ Proud to be a Mammal – finding grace in the belly of a beast

Czeslaw Milosz’ Proud to be a Mammal – finding grace in the belly of a beast

Emmanuel Levinas said “God left in 1941.” Theodor Adorno said “to write poetry after Auschwitz is barbaric.” Czeslaw Milosz, writing from Warsaw, Nazi terror’s ground zero, said this:

“The poetry I wrote before the war and later in Nazi-occupied Poland would have been utterly without hope if not for my awareness of the beauty of the things of this earth, and that beauty was incomprehensible, as it coexisted with horror.”

Czeslaw Milosz, Happiness 

Milosz lived and wrote through twentieth century’s darkest hours, in Warsaw disemboweled by war, its citizenry fighting like lions for the very soul of Europe, that fatigued continent. He sold contraband sausage, cigarettes, whiskey, and undies. He traded passports and crossed illicit borders. He saved Jews and was imprisoned in a transit camp. He translated and published little clandestine volumes of poetry on a Ditto machine. He survived. Today we read him as we read Hannah Arendt, Erich Fromm, and Gunther Grass, all these austere witnesses of horrors doing a post mortem of humanity to decipher what the hell happened, why, and how it may happen again.

For his part, Milosz searches for answers in Dante, circles of hell, Faust, and European fatalism at a time when, as he says, history started rapidly accelerating:

“In Europe, this ‘acceleration of history’ demonstrated its force in the span of one generation: the First World War broke out; seemingly indestructible powers – the Russian Czarist Empire and the Hapsburg monarchy – fell; the Revolution of 1917 flared up; Nazism and Fascism culminated in the Second World War and Russia marched far beyond its 1914 borders, taking into its orbit little countries which had previously separated themselves from it, as well as nearly all the former Hapsburg domain. To one witnessing these events, the rise and decline of State organisms, the appearance and disappearance of chiefs, the millions of graves and the ashes of other millions scattered over the fields, all combined to make up a film running at a crazy tempo. Human affairs exploded like the mushroom of the atomic blast.” 

Czeslaw Milosz, Speaking of a Mammal

A whole lot of stuff goes on during a world war but, in moments when the centre doesn’t hold, some things are surprisingly durable: a stone and two blades of grass, or a roof of a hut, or a plough. While governments fall, the land is “singularly naked.” There are moments of felicity to be found even as the world goes ablaze:

“One should not imagine that those who have been swallowed by a dragon won’t experience moments of perfect contentment.” 

Czeslaw Milosz, Saligia

Milosz is deeply humanist, as are most of these wartime writers, paternalistically reconciling our capacity to do evil with our capacity to be good. Milosz, probably owing to his deep Catholicism (or to what some critics called a “beautiful naivete”), goes further than his cohort in his enduring optimism in humanity – pain is transitory and harmony is eternal. Writing idyllic verses in the land he claims was called anus mundi, the cloaca of the world, he says:

“Horror is the law of the world of living creatures, and civilization is concerned with masking that truth. Literature and art refine and beautify, and if they were to depict reality naked, just as everyone suspects it is, no one would be able to stand it.” 

Czeslaw Milosz, Anus Mundi

It’s an eerie feeling today, strolling across Warsaw’s old town, looking all those fairytale-pretty houses, bustling cafes, watching tourists take selfies by the Mermaid of Warsaw monument, and knowing it was all rebuilt from scratch, brick by brick, a city drawing its new blood from an underground cavern of old blood, burnt blood, shed for the country, its people, and its freedom. Czeslaw Milosz, much like the heroic fighters of the Warsaw Uprising, knew that his (and their) chances of surviving and seeing “what came out of this cauldron” were slim to none. Nevertheless, the old humanist went with Martin Luther’s advice: “when asked what he would do if he knew tomorrow was going to be the end of the world, he said, ‘I would plant apple trees.” 

Image: The monument to Warsaw Uprising, shot by me this summer.

Karl Ove Knausgaard’s Autumn: turning the everyday into metaphysical exercise

Karl Ove Knausgaard’s Autumn: turning the everyday into metaphysical exercise

Experiencing Autumn is a bit like newbie meditation. Wholesome intentions at the start, then excruciating boredom, and just then, when you, high-strung and anxious in all of your hyper-jacked always-on digital modernity, are ready to capitulate, just then you are (maybe) rewarded with It. That high-density particle of insight you’ve been sweating your saggy bits for. Momentarily relieved and perhaps even elated, you drag yourself back into supplication, back into that downward dog, back into the unassuming text whose cavalcades of wee chapters put you to difficult work again. That, or you call it drivel, and throw it behind the couch, a lifelong sentence of collecting cobwebs and lost buttons.

Only a well-established author of comfortably broad renown (and Knausgaard, that Scandinavian Proust, has earned his accolades through the widely popular My Struggle) can get away with a book as richly self-indulgent as this. Through the measured andante of the narrator, a salt-and-pepper-haired paterfamilias, we are invited to examine the intense materiality of this world. Apples. Badgers. Chimneys. Mouth. Churches. Piss. Forgiveness. Thermos. Vomit. Beds. Loneliness. Infants. Labia. Flaubert.

This is reality without makeup, as it appears in autumn within the bowels of a palpably hygge home to a “white middle-aged man with a frozen inner self, who walks stiffly and slightly stooped, and who never plays, never dances, never ventures into the wild, uninhibited darkness.” He makes coffee, writes, cooks breakfast, cleans, puts children to bed, and catalogs it all into his cabinet of banalities for the make benefit of his unborn daughter.  Perhaps one day, when she reaches the age at which adult children suddenly start enjoying spending time with their parents, she will thank him for these metaphysical lab notes, like the one about how pleasant it is to have a fever. Or how oddly satisfying it is to eat the entire apple, seeds and all. Or how war unleashes rational forces latent in humans. Or how sewing on buttons connects you with the spirit of your Norwegian grandmother. Or how  a thermos is “a kind of a family totem [that] discreetly embodies all that bound us together back then and which has now been broken.” 

Perhaps the most frustrating thing about Autumn is its perfect stillness. There is no ebbing conflict to resolve in glorious crescendo. Instead, there is a near-perpetual but ever so irritating tension, like electricity static. An existential cul de sac. There is no untying this knot, there is no solving this mathematical equation, because it is life itself. It cannot be squared. It cannot be compartmentalized. It can only be endured or, better yet, accepted. A kind of Scandinavian stoicism, standing strong like a solitary autumnal leaf, grasping on while all his brothers have long tumbled into that early November frost.

 

Pico Iyer’s Video Night in Kathmandu: The enduring relevance of “go East, young man”

Pico Iyer’s Video Night in Kathmandu: The enduring relevance of “go East, young man”

Pico Iyer did for the travel genre what Anthony Bourdain did for the culinary arts. With thoughtful reflections on world’s most enduring attractions (as far as the Western gaze is concerned, at least), executed in impeccably eloquent prose, Iyer has traipsed around the globe, from revolutionary Cuba to aethetically minimalist Japan, discussing airports, jet lag, diaspora, cultural appropriation, displacement, identity, and the very essence of global spirit under assault by winds of history.

Today, reading Video Night in Kathmandu, written in early mid-80s, is an interesting exercise. This travel narrative is an echo from a time when the geopolitical theatre was playing a decidedly different movie: China hasn’t entered the WTO yet, Hong Kong was still the crown jewel of the British Empire, USSR was still alive and kicking, and Rambo and Madonna were at the zenith of Pax Americana pop culture. Other things were already as par for the course then as they are now: Thai sex tourism, Bali’s it’s-already-spoiled-paradise kitschization, Tibet’s enigma, Myanmar’s isolation. In Iyer’s Asia, globalization is already in bloom but still fresh enough to still get you excited about being able to order burgers and Pepsi in Nepal.

Travel according to Iyer is both an elegy and a eulogy, a love emoji from Othello to the unfortunate Desdemona, a guilt-laden sentiment only amplified by a thousandfold in today’s age of Instagram hyper-tourism. Today, forty years later, we have moved a wee bit further on the spectrum from a Babel present to a homogeneous Esperanto future (to use Iyer’s gorgeous expression), but we are not fully there yet (and who knows if we’ll ever get there).

Video Night in Kathmandu is an Hieronymus Bosch iconostasis of Bali, Tibet, Nepal, China, the Philippines, Myanmar (described as “a malfunctioning guinea pig of fundamentalist socialism”), Hong Kong, India, Thailand, and Japan. The verdict on these lands is complicated:

“Bali drew its strength, its magic and its eerie purity from the ancestral currents that pulsed through its soil, currents that Westerners could sense, perhaps, but never touch; just so, the moving yet unwavering faith of Tibet would withstand the ravages of tourists, I hoped, as surely as it had withstood the vicious assaults of the Chinese. Burma had calmly closed its door to the world, and China had opened it up just enough, so it planned, to take what it wanted, and nothing more. Prodigal, hydra-headed India cheerfully welcomed  every new influence from the West, absorbing them all into a crazy-quilt mix that was India and nothing but Indian; Japan had taken in the West only, so it seemed, to take it over. As for Nepal, and Thailand even more, both gauged Western tastes so cleverly and adapted Western trends so craftily that both, I felt, could satisfy foreigners’ whims without ever becoming their slaves. Even Hong Kong, the last pillar of the Western Empire, was now getting ready to return to Asian hands.” 

Pico Iyer, Video Night in Kathmandu

Pico Iyer, a product of Indian, English, and American heritage and, being keenly aware of this legacy, cannot talk about the East without the Raj, the Foreign Office, and Rudyard Kipling. Globalization, some would say, is simply a mutated colonization, a virus adapting, so to speak, to better feed off of its host. As such, the jury is still out on whether “a Fool lies here who tried to hustle the East.”

Image: Beyond Street by Swarat Ghosh.

Karen Blixen’s Babette’s Feast: deceptively simple Scandinavian wisdom

Karen Blixen’s Babette’s Feast: deceptively simple Scandinavian wisdom

Karen Christenze von Blixen-Finecke had a complicated  but colourful life. Reared in a conservative monarchist family in a stately manor house on the outskirts of Copenhagen, she fell in love with some kind of a dashing equestrian, but, rejected, married his rogue twin brother instead. Then, fate threw her to a coffee farm in Africa, where she experienced financial ruin, infidelity, illness, death of her second big love, and a disgraced return to the native shores. And then there was war, and another war, and a sprinkling of successful books under various pseudonyms like Tania Blixen (for Anglophone audiences) and Isak Dinesen (for German-speakers). At the zenith of her literary fame, Blixen journeyed to the United States where, as a bona fide aristocrat, she subsisted on oysters, grapes, and champagne while giggling up a storm with the likes of Marilyn Monroe…

But before all those accolades there was the mysterious French Babette, a culinary therapist, a dark-eyed saviour of prudish Norwegian spinsters, and overall a much-beloved character of Blixen’s Babette’s Feast, immortalized on screen in an 1987 Academy Award laureate.

At forty pages of literary minimalism, Babette’s Feast is not to be underestimated, for it takes a mightier writing muscle to craft something meaningful laconically than it does through flowery diarrhea of verbosity. And so, in a simple story of a French refugee thanking her pious Norwegian hosts, the reader learns that 1) excess asceticism is not necessarily the truest path to righteousness and God and 2) when spiritual and corporeal realms are well-nurtured one gets the purest Nirvana.

“This woman is now turning a dinner at the Cafe Anglais into a kind of love-affair of the noble and romantic category in which one no longer distinguishes between bodily and spiritual appetite or satiety.”

Karen Blixen, Babette’s Feast

Babette, fleeing from the bloodbath of French Revolution, finds safety in the kind of place where split cod and ale-and-bread soup are the height of culinary sophistication. She is taken in by devout ecclesiastics who renounce the pleasures of this world, “for earth and all that it held to them was but a kind of illusion, and the true reality was the New Jerusalem towards which they were longing.” There is kindness here, true, but a lot of reservation. Open affection is scant, but regret is bountiful, and the scales ever more tip in its favour as wrinkles and grey hair make their inevitable advances.

Babette unwittingly throws a flaming Molotov cocktail right at the heart of this stoic philosophy by spending her entire fortune of a very lavish and very French feast for her benefactors and their uptight friends. There’s the fabled turtle soup with Amontillado sherry, Blinis Demidoff with Veuve Cliquot champagne, quail in puff pastry with foie gras and truffle sauce, and numerous other luxuries to impress even the toughest critic, let alone Babette’s unsophisticated guests. With each spoonful, with each glass of effervescent refreshment, their eyes glow brighter, their hearts beat louder, and all those putrid lumps of guilt, shame, submission, and denial melt away. They eat their way to God and emerge, with the last sip of their digestif, innocent like children.

There are clearly common themes between Blixen’s Babette and a 90s novel by Joanne Harris Chocolat (and its successful same-name film adaptation with the immaculate Juliette Binoche). Other adorably saccharine genre buddies such as Ratatouille or Julie and Julia also hammer home the same universally palatable thought – there is something patently magical about food, some artistry that leads to redemption, salvation, or at the very least self-actualization to be found at the tip of that brimming ladle.

Image: A still from Babette’s Feast film adaptation (1987).

Elif Batuman’s The Possessed: A love sonnet to literature and all its students

Elif Batuman’s The Possessed: A love sonnet to literature and all its students

A long, pained decade of crudely administered austerity medicine after the global financial apocalypse of 2008 has left opulent scars on academia. Fewer students today choose to embark upon the study of humanities and, specifically, literature, than ever before in history of democratized access to education in the West. Countless pearls of our common literary heritage are lingering untasted and untested, all the while the increasingly dwindling number of PhDs, associate profs, fellows, and other knights of assorted regalia continue firing off essays, articles, and books that even fewer leaf through. It’s bleak and it sucks, and while the fine craft of belles lettres is ghosted by policy-makers who robotically herd the young’uns into science, tech, engineering, and maths, we’ve got Elif Batuman, her golden feather pen, and the kind of unwilting love of literature that makes one miss grad school with its all-nighters, caffeinated seminars, ulcers, halitosis, and overdue library books.

Elif Batuman takes us on a journey of her Russian literature studies, with some quintessentially academic self-congratulatory circle-jerking, plenty of beautifully phrased intertextual tapestry of Tolstoy, Babel, and Dostoyevsky, and a curious passeggiata through mythical Uzbekistan (birds, melons, and Timurids galore). In an inadvertent nod to the hilarious father of the campus novel genre David Lodge, much of all this literary analysis with the side of Derrida is steeped in a grad school cocktail of beer-cigarettes-infatuation. Like billiard balls, these academic pilgrims stumble into bits and morsels of knowledge, beautiful and fragile, holding it “like a Christmas ornament without a Christmas tree.” Not in vain:

“If I could start over today, I would choose literature again. If the answers exist in the world or in the universe, I still think that’s where we’re going to find them.” 

Elif Batuman, The Possessed

In order to find these answers, Batuman’s character first needs to answer the two fundamental Russian problems (“What is To Be Done?” and “Who Is To Blame?” of course). She also has to figure out, after all these linguistic, literary, and logistical acrobatics, What Is Russia? Sadly, she never does, her gaze always already corrupted by the kind of apologist lens Nabokov himself would get pissed about when confronting some Oxbridge Russophiles who waxed poetic over Bolshevism. It’s all fun and games when your character dreams about playing tennis against Tolstoy, but when it comes to truly unpacking the toxic sediment of imperialism, colonialism, and a plethora of other -isms of the Russian Empire/USSR, The Possessed bashfully skirts around the hard stuff, and traipses away. Maybe next time. As such, the original question still stands very much open, even after some very sincere epistemological exercises:

“I became aware of a deep flaw in my understanding of the world and human knowledge. I had previously thought of knowledge as a network of connections that somehow preserved and safeguarded the memory of what they were connecting. But of course it was only people who remembered things; words and ideas themselves had no memory.”

Elif Batuman, The Possessed

Words and ideas have no memory? The entire field of etymology (along with millions of post-colonial peoples of this planet) beg to differ. One shouldn’t fault Batuman’s character too harshly though. She is, after all, a student (and a bloody good one), passing the flaming torch to the next generation of curious spirits with appetite for learning and love of beauty. And that’s the point.

Image: Portrait of Tolstoy and Wife by Ilya Repin