Showing posts with label . Stephen Darori. The Darori Foundation. Show all posts
Showing posts with label . Stephen Darori. The Darori Foundation. Show all posts

Saturday, August 4, 2018

Mary Olivier, a Life (Virago Modern Classics) Paperback – Import, April 14, 1980 by May Sinclair (Virago Press Ltd)


MARY OLIVIER: A LIFE came out serialized in the same issues of THE LITTLE REVIEW as James Joyce's ULYSSES, and has never received its proper due for its achievement. part of this may also stem that it was written ten to fifteen years after the great spate of Edwardian parricidal Bildungsromans, which include Joyce's PORTRAIT, Lawrence's SONS AND LOVERS, Maugham's OF HUMAN BONDAGE, Bennett's CLAYHANGER and Butler's THE WAY OF ALL FLESH. Yet MARY OLIVIER deserves at the very least to be in such fine company. May Sinclair herself coined the term "stream-of-consciousness" to describe the technique of Dorothy Richardson, and she uses this technique herself here in recounting the life of a young woman from the Victorian Sixties to late middle age. The results are astonishing: it may remind you a bit of Joyce's PORTRAIT, and a bit of Katherine Mansfield's Burnell Family stories, but it's also like neither of them. Mary and her brothers must revolt against their father's jealous possessiveness of his wife and their mother's sweet manipulations and doctrinaire piety, but they can never bring themselves to fully hate them. they realize that their parents are also actual people, flawed and yearning to love, and Sinclair outstrips many other writers of Bildungsromans by giving the parents their due. The last third of the book (after the father dies) is a bit tedious, but the novel is a real triumph, especially in its presentation of the way children think about their parents, the world around them, and even philosophical matters.

Tuesday, January 30, 2018

Before Everything Hardcover – June 27, 2017 by Victoria Redel (Viking)

I read Before Everything, a novel, right before reading My Glory Was I Had Such Friends, a memoir . Both are about a group of friends and terminal illness. And while they took different tacks to explore these topics, the synchronicity was worth paying attention to.




"It's the oddest thing. I spent all those years refusing to be defined by illness. I was so insistent, so ferocious about it. Now I see I wasn't. I have the sweetest life. The kids. My family. All of you."

"Do you feel ready?" Molly asked.

"It's not a matter of being ready. Who'd ever be ready to give all this sweetness up? It's that I'm not really here anymore."

"But you say you're happy to be with us tonight," Helen said. She was so relieved that they were all finally together talking. Not about kids. But this.

"I don't know how to explain it. I'm sorry."

"It's bittersweet." Ming licked the spoon's metal. She made no attempt to wipe the tears off her face.

"Just sweet," Anna said, and picked up the next pint of vanilla bean. p. 153-4

When I started reading this novel, I honestly didn't know what to make of it. A scene in the present might take up a page before flitting back to a paragraph-long memory from the past and all the while, the reader is forming an impression of the group of friends who has arrived to rally around Anna.

Anna has decided she's not going to try any more cancer treatments and begins hospice. Her ex-husband Reuben, still a good friend, becomes her caregiver. Her brothers and many of her friends take turns trying to convince her to try one last round, which has worked in the past. But Anna is tired and she is ready. The bits from her perspective were incredibly moving, as Redel shows not only the confusion of a brain slowing down but the flutter of memories. I particularly enjoyed Anna's realization of all the things she will no longer have to do, from blood draws to shaving her legs. When Anna's son tells her his wife is pregnant with her first, she thinks about everything she wants to tell her baby's baby and this is a fully internal experience. She begins to withdraw as she sleeps more but we are present to her thought process.

Like any group of friends, each person responds differently to Anna's decline. With The Old Friends-Helen, Molly, Ming, Caroline- those who Anna has known since 6th grade, they each remember how they met Anna, how their group formed, and what Anna has meant to them over the years. They consider what Anna will miss, like Helen's second wedding and whatever Molly's teen daughter is going through.

The memories from various points in their lives are overlaid into the present. The memories were often paragraph snippets and I usually wanted more but as the book continued, it occurred to me this is how if often is in friendship. I spent a weekend away with my best friends and our conversation would veer from "remember who I took to prom?" to "here's the book I'm reading" and "this is what happened at work yesterday" with fluidity. Redel has given us that same fluidity and I'm not sure I've experienced it in fiction before but it worked.

Redel took it a step further by including the perspectives of some of Anna's local friends. None of the Old Friends live by her so it has been an entirely different community that has been there for the day-in, day-out of her years of cancer treatment. They respond differently to her decision for hospice, as one might imagine, as they have vicariously experienced the toll the treatments have taken. The two groups of friends don't know how to relate to each other and it was interesting to watch them navigate their possessiveness of Anna.

Of course, it's not always easy to read about someone who is dying. But there was a lot of life and even laughter in this novel. I laughed out loud at a couple astute observations. I teared up at various points. I considered how I'd respond if this was my friend or if I was the one dying.

This is a celebration of friendship and a meditation on the impact we can have on one another. It was bittersweet and lovely. It was one of the most honest accounts of friendship I've found in a novel and I'm so glad I read it.

Synopsis

Before Everything is a celebration of friendship and love between a group of women who have known each another since they were girls. They’ve faced everything together, from youthful sprees and scrapes to mid-life turning points. Now, as Anna, the group’s trailblazer and brightest spark, enters hospice, they gather to do what they’ve always done—talk and laugh and help each other make choices and plans, this time in Anna’s rural Massachusetts home. Helen, Anna’s best friend and a celebrated painter, is about to remarry. The others face their own challenges—Caroline with her sister’s mental health crisis; Molly with a teenage daughter’s rebellion; Ming with her law practice—dilemmas with kids and work and love. Before Everything is as funny as it is bittersweet, as the friends revel in the hilarious mistakes they’ve seen each another through, the secrets kept, and adventures shared. But now all sense of time has shifted, and the pattern of their lives together takes on new meaning. The novel offers a brilliant, emotionally charged portrait, deftly conveying the sweep of time over everyday lives, and showing how even in difficult endings, gifts can unfold. Above all it is an ode to friendship, and to how one person shapes the journeys of those around her.



Thursday, October 19, 2017

Waging War: A New Philosophical Introduction. 2nd Edition. Ian Clark. Oxford University Press


War has been, arguably, one of the most persistent attributes of human history. Also, it is amongst those that have undergone the most significant change. It is only natural that such change in the conduct of war correlates with a corresponding change in how people think about war – the two aspects are inseparable and, as argued in this book, go hand in hand (as opposed to commonplace approaches, postulating the primacy of one or the other). And while traditionally the aforementioned change was gradual, except for some radical threshold events (one is tempted to see, for example, the introduction of the longbow or gunpowder amongst these), more recent developments have been breathtaking. This is why the second edition of Waging War: A New Philosophical Introduction, published just over a quarter of a century after the first one, had to be rewritten rather than simply updated.

As Ian Clark himself admits, writing about war is always challenging, especially because any definition is unavoidably value-laden in itself. After all, war is not only about acts of killing and dying, but also ‘a diverse set of ideas drawing upon cultural, legal, and ethical assumptions’ (1). Consciousness of this inextricable connection between practice and traditions of thinking about such practice is one of the major contributions of Waging War: both aspects are truly intrinsic to the phenomenon analysed, although quite rarely viewed as such. Yet another narrative woven into the analysis is one of interaction between the practical and theoretical aspects of war, which has had a long and rather tumultuous history. On both accounts, the book mounts a challenge to some of the conventional thinking about war.

Moreover, demand for a deeper understanding of war, going beyond mere presentation of ‘facts’, is particularly high in times of change, when the need to make sense of what is happening is particularly pertinent. Hence, Waging War is also a timely book because both the practice of, and the thinking about, war today are anything but straightforward. The war on terror, campaigns such as those in Kosovo and Libya, drones and other technological innovations (it is somewhat strange that the author tends to ignore cyber threats) – all of these have spurred a debate about something substantially ‘new’ in the (notably Western) ways of war. It is becoming increasingly evident that ‘it is not merely the ethics that have become more complex, but how they are to map onto our very understanding of the conceptual category of war’ (4). This increased indeterminacy makes the prospect of an interdisciplinary analysis even more appealing.

Image Credit: Marines with the 15th Marine Expeditionary Unit (Special Operations Capable) during the early stages of Operation Enduring Freedom in 2001 (Wikipedia Public Domain)


The key themes of the book cover virtually all major aspects of waging war: where and how the boundaries of what war is and what it is not are drawn; the degrees of absoluteness of war, from ‘just’ to ‘limited’; distinction between legitimate and unlawful targets; the role of (a)symmetry in today’s war; and the impact of new weaponry. These are all questions unanswerable through practice alone, and yet, they are raised and informed by practice. And answering them is not merely an academic exercise or a matter of curiosity – all of these issues ultimately refer to life and death and are, therefore, immensely practical. Clark does a commendable job in questioning the seemingly self-evident assumptions underpinning our understanding of war and pinpointing their increasingly precarious nature or, on other occasions, uncovering substantial continuities where others see radical break with the past. As a result, one needs to approach this book with an open mind.

Still, the expansion of analysis so as to involve both the practical and the conceptual domains does not necessarily have to complicate the matter. Instead, many of the supposedly new challenges can be revealed to have already been pre-empted by earlier conceptual apparatuses, while ‘what appear to be clashes of ethical principle turn out to be, on closer inspection, little more than closet disputes about the applicability of various prepacked conceptual categories’ (144). Indeed, theoretical discussions can often turn out to be petty squabbles between several closed perspectives and authors ready to pick up on the minutest detail. For the most part, Waging War avoids such squabbling by looking at a sufficiently broad picture, both geographically and historically (although, it must be admitted, such a panoramic view sometimes comes at the expense of clarity or inclusion of noteworthy cases and examples). That, in fact, is scholarship as it should be: unashamedly bold and far-reaching, proudly concerned with the fundamentals of the discipline, making sense where previously there was very little of it.

Ian Clark impresses with thorough knowledge of both the military and the philosophical-ethical dimensions of waging war and the ability to bring them together in a fashion that is both conceptual and immediately practical. As noted above, that is not a usual feature within the literature. Although not entirely accessible for the uninitiated and slightly over-complicated in style, this book is indispensible for anybody with an interest in the study of war, and provides a reflective account of war, which goes beyond simplistic divisions and categorisations. As such, Waging War is highly recommended.