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If you accept that loneliness is the great existential terror that we all, in our different ways, try to escape, it isn’t hard to apprehend the fraught relationship that this gives us to our own bodies, because it’s our bodies that keep us so basically and dreadfully apart. It’s interesting to note how often words used to express the value of literature (or art more generally) conjure up kinds of immaterialism: ‘seeing the world through different eyes,’ ‘being transported’, forging a ‘psychic connection’ with the author, ‘losing yourself’ in a book – all of these are expressions that run against what seems to be the brute material truth: that we are locked inside our skulls.
There was a time there where I could not have a conversation about books with a stranger at a party say, without them launching into a speech about how amazing Atomised by Michel Houellebecq was. This became increasingly annoying for me because these ‘fans’ seemed unable to describe exactly what the appeal of the book was. They were astonished by the sense of shock that the writer had elicited and sometimes a conspiratorial feeling of belonging to a fellow-traveler – yes that is how the world really is – but both of these reactions seemed entirely self-directed. My conversational partners were unable to enlighten me as to why I should read the book too. I suspect fans of Portnoy’s Complaint were similarly cultish back in the day, but that was another time and polite conversation so firmly stratified, that the risk Roth-fans ran of offending was far greater. By the late nineties this was less of a concern.
Ben Jeffery tackles the meaning behind Houellebecq’s writings head on, placing the fictional exertions of the French literary enfant terrible within a far broader context in order to draw out exactly what the egotism of the author is aiming at. In effect, he has done a massive service to a writer occasionally dismissed as being a reactionary whose deconstruction of modern society as being nothing more than a series of sexual power exchanges lies somewhere between Foucault and a depressing Carry On.
Instead Jeffery runs the gamut from Schopenhauer to David Foster Wallace to properly situate the likes of Atomised and The Possibility of an Island, revealing that Houellebecq is investigating the relevance of any literary action at all. Engaging in fiction is in and of itself an ephemeral act, itself an echo of how we attempt to escape our own sense of mortality. What is most worthwhile about Anti-Matter is that Jeffery does not fall victim to the typical trap of Houellebecq critics. This is an intellectual salvage operation, that avoids rampant speculation about the personal life of the headline-bating writer, not to mention the rancorous testimonies of the author’s own mother.
What I am saying is I am grateful someone finally took the time to try and explain the point of Houellebecq to me. I have not had an easy time with the writer’s work myself. I thought his essay on Lovecraft bitterly disappointing for one, but Jeffery cites it prominently in Anti-Matter. The New England fantasist’s own ‘depressive realism’* is tied into Houellebecq’s, both arguing that life is essentially pointless. The latter’s own jaunts into sf utopias demonstrates his continuing interest in using imaginary worlds to illustrate how incomplete, fleeting and immaterial the engagement humans have with reality is. Fiction/fantasy are decadent acts that in Houellebecq’s assessment squander what is vital about life itself – hence his obsession with sex – but Jeffery’s astute addendum is that whatever sense of truth, or engagement with our existence that we enjoy is equally a ‘lie’. Realism is concerned primarily with seeming real and Houellebecq’s pessimism punches through the nadir point to the ‘truth’ – we need the lies.
Ben Jeffery has produced not only an excellent critical assessment of Houellebecq’s writings, but a fantastic think-piece in and of itself, refining the intentions of his subject, as well as opening up this erudite discussion of art to the act of living in the world.
With thanks to Zero Books for my review copy.
*Excepting your occasional ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn – of course.
The common factor linking Blair and Blur is that they made thoroughly sure to get their sell-out in first, to make perfectly clear that the dream was over, that there would be no more experiments, no more utopias, only a constricted, and as the still-unfolding financial crisis makes clear, utterly misnamed ‘realism’. The generation that came of age in the mid-late 1990s were perhaps the most apolitical of the 20th century. leaving a mess which those born in that decade are struggling to clear up, through the student movement against the Tory-Whig Coalition government – whose Prime Minister, a fan of the Smiths and the Jam, displays impeccably Britpop tastes. Pulp were alone at the time in holding onto the possibility of utopias and alternatives, in being able to use the world ‘socialism’ without smirking – although they didn’t create an alternative so much as carry the idea through a most unsympathetic period.
I have a memory of an Irish Times music journo summing up the Blur versus Oasis pop rivalry with, and I am obviously paraphrasing here, ‘while both sides fought over chart positions it was Jarvis on his push-bike who swooped in to steal the crown’. I was a fan of Pulp‘s music (I am horrified to discover having followed that link that I just missed their Sydney gig), both due to the catchy songs as well as my own contrary desire to stand apart from the mainstream taste-setters. Of course Pulp were not exactly underground, although following Jarvis led me to the amazing Oedipus Schmoedipus album by Barry Adamson, so I am grateful for that.
Owen Hatherley makes it quite clear early in this work that Uncommon is not intended as a prosaic discography – or even a biography of the magnetic Jarvis – intead it is an account of the band Pulp represents, the contrary associations it projected against the background of New Labour and Britpop at its height, an uncomfortable reminder for this narrow politically-minded subset of public school demagogues and PR denizens that Britain’s class culture was far less bucolic than their press releases would have the public believe. Damon Albarn’s mockney facade is here twinned with Blair’s ‘yeah yeah yeah‘ deceptive superficiality.
The 90’s were awash in a pre-packaged faux nostalgia for previous periods – the mono-cultural setting of Britain’s past cited in order to eclipse its multicultural present; the fashions and empty rebellion of the sixties stripped of any political comment. Even Northern rockers Oasis were at it, Noel Gallagher’s lyrics summarising the druged up euphoria of rave culture, but weighed down with post-Beatles musical ballast. Pulp, Hatherley argues, instead situated their music and lyrics in the band’s experiences coming up in the politically marginalised urban environment of Sheffield, with the promises of reform and social improvements made during their childhood repeatedly betrayed.
The evolving abilities of Jarvis Cocker as a lyricist is also examined. The song ‘My Legendary Girlfriend‘ released in1990 is liberally quoted from, demonstrating the singer’s talent not just at evoking a time and a place, but in telling a story. As the band progressed Pulp’s lyrics became decididly risqué, with Jarvis casting himself as a suburban lothario, an insatiable in his pursuit married women instead of the teenage girls that populate the chart ballads. Black humour becomes more prominent in the music, with an evident desire to expose the listener to a rage of emotions beyond simple titillation and yes, even expose the political hypocrisy of the era. One find of Hatherley’s in particular is the little-known, bombastic b-side Cocaine Socialism, a blistering indictment of New Labour.
Of course singles like Common People and Disco 2000 (which I recall Jarvis blithely revealing in an interview he wrote to secure royalties for the Millennium) from the best-selling album Different Class launched the band into a difficult period of fame, confounding their attempts to use it to their own ends. The decline of the band is treated as a further opportunity to describe the frustrations of the neo-liberal 90’s and early 2000’s, as much as result of internatl pressures as it was their failure to be pidgeon-holed by the music industry.
Hatherley has produced a perfect tribute to Pulp and the time that produced them as a band, invoking the sincerity of their ambitions as musicians and story-tellers. This account of their career is an excellent excoriation of Britpop and New Labour hagiographies.
With thanks to Zer0 Books for my review copy.
Take us out Mr Cocker
I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even of a house-wife in the market, inspecting cuts on the slab. I’d never seen, or else had never acknowledged, that regard of his before, the sheer carnal avarice of it; and it was strangely magnified by the monocle lodged in his left eye. When I saw him look at me with lust, I dropped my eyes but, glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.
The next day, we were married.
I found myself in the unusual position of being scolded by this book’s introduction, written by Helen Simpson. “The Bloody Chamber is often wrongly described as a group of traditional fairy tales given a subversive feminist twist. In fact, these are new stories, not re-tellings.” Well shut my mouth! I have been going around for years saying, oh, I really want to read this book by Angela Carter. It’s like a feminist retelling of fairy tales. Sounds amazing.
Apparently I was wrong.
Well I am happy to take those lumps, but I might argue that bringing to the fore the sexuality of these heroines in Carter’s fairy tales is feminist insofar as it presents their sexuality as relevant to the text.
Consider the title story, which opens with a young woman travelling to meet her fiancé, with due attention paid to the ‘pounding’ of her heart and the ‘thrusting’ pistons of the train bearing her ‘away from girlhood, away from the white, enclosed quietude of my mother’s apartment, into the unguessable country of marriage.’ The story continues in this elegiac style, risking accusations of being overwritten, but Carter is obviously having wicked fun with this tale of a woman who discovers her new husband carries a dark secret. The Bloody Chamber flirts with the divide between sex and death, the marital consummation equated with ritual murder, the narrator unquestioningly pulled this way and that as if by tidal forces between her mother and her husband.
The following stories, The Courtship of Mr Lyon and The Tiger’s Bride both address the same source material, a recurring technique within this collection, namely Beauty and the Beast. The first story appeals to the high romance of the tale, especially in its numeroues retellings. The second riffs on a cruder sense of humour and explores the venality of ‘Belle’s’ father in losing his daughter to the Beast, not to mention her own knowing mockery of his intentions towards her.
The Company of Wolves, most famously adapted by Neil Jordan, The Werewolf and Wolf-Alice, the last story in this collection, are all riffs on different aspects of the Little Red Riding Hood story. A similar separation, as with the previous stories depicting different aspects of Belle, is attempted here. The young heroine appears either as an innocent, a woman who uses the desire of the wolf to survive, or a more lupine creature herself.
Puss-in-Boots is transformed into a bawdy farce about a young lover and his feline valet. ‘So all went right as ninepence and you never saw such boon companions as Puss and his master; until the man must needs go fall in love.’ A rich vein of cynicism is explored in this story, with romance simply another scam, another challenge for the wicked pair.
My favourite of the bunch has to be The Lady of the House of Love. This is an extremely funny take on the traditional vampire myth, with a lonely undead Countess feeding on young men who pass through the abandoned village beneath her castle. Until one day, a cyclist on leave from the war arrives to drink from the fountain and is directed by the castle’s maid to visit. Instead of being seduced by the grandeur and ostentation of the abode, he sees nothing but mould and decaying furniture. Completely devoid of imagination he is immune to the charms of the vampire. I learned on the weekend that this young hero was apparently based on an artist neighbour of Carter’s. Quite the poison pen she had.
Deliciously wicked and very funny.
‘Wait, I thought the guest blogs were over?’ I hear you exclaim. Well, yes but I received this today from my former editor (as well as mentor, friend and all round stand-up gent) Ciaran Pringle and decided to throw it up here. After all, it was during my time of working with Ciaran that I first travelled out to Australia and met Stephanie. So I have very fond memories of that period.
Also there is some big news coming shortly. Very excited. Cheers folks – Emmet.
Every now and then, I decide to live dangerously and judge a book by its cover. The odds are stacked against me, but that’s what makes the rare discovery of a gem so exciting. A couple of weeks back I was moseying through my favourite bookshop here in Dublin when I saw what looked like a block of wood on one of the display tables. It was, of course, a book with a wood-effect cover. Curious, I picked it up and read the title: The Case for Working with your Hands – or why office work is bad for us and fixing things feels good. A shiver ran down my spine. Here was a book about a subject that has occupied my thoughts on and off for almost thirty years – the entire duration of my seemingly endless career as a civil servant. Before running to the till, however, I scanned a couple of pages from the introduction to check for signs of pop psychology. You know the sort of thing I mean – chapter headings based on Arcade Fire song titles or repeated references to ‘self-actualisation’. Mercifully, it was free of all flummery. I bought it on the spot.
The American author, Matthew Crawford, is a philosopher (a real one) by training and a motorbike mechanic by inclination. As a teenager, he picked up extra pocket money helping in a local garage. From there, he graduated to a specialist motorbike repair shop, where he earned enough to put himself through the University of Chicago. After several years following the expected academic path, lecturing, working in a ‘think tank’, it became increasingly apparent that for him, fixing bikes was more satisfying, more – here’s the ‘eureka’ bit – intellectually challenging, than researching and writing papers on social policy. The really interesting thing about Crawford is that he took the next step – he chucked in the job at the think tank and opened his own bike repair shop, where he works to this day. The college grad became a tradesman.
Crawford uses his unlikely career path to explore the world of work and in particular to debunk the deeply entrenched notion that working with your hands is inherently inferior to working with your head. As this beautifully written book amply demonstrates, restoring a thirty year old Honda to its original state, or rewiring a house, or making a fitted wardrobe, requires as much if not more brain power than many desk-bound, white collar jobs – and is a hell of a lot more rewarding on many levels, though not necessarily at wallet level.
The introduction of mass-production processes into manufacturing in the early part of the 20th century is when the rot really set in. When Henry Ford started building ‘automobiles’, employees could expect to be involved in the construction and assembly of an entire car. This, Henry realised, was not an efficient way of churning out Model Ts for an insatiable market. Much better to have an assembly line, with each employee doing a specific task over and over again. It worked. But what made Henry as rich as Croesus turned his employees into automatons. Their jobs had been reduced to actions. Crawford rightly recognises this as a pivotal moment, when thinking was separated from doing.
Soon, the ‘time and motion’ men were applying the logic of the assembly line to every job, from processing insurance claims to making pencils. Complicated tasks were broken down into their component parts and these parts were distributed to employees who, in many cases, had no idea what the end product of their effort was. They were cogs in a machine, paid to do modular bits of activity divorced from any tangible end result. Job satisfaction went out the window and wages became compensation for drudgery. An inevitable consequence of this atomisation of work was that manual competence became devalued. Trades were for those who couldn’t make it into the professions, or even into an office job.
Fast-forward to today, and manual competence is almost frowned upon, and certainly not encouraged by the stuff we surround ourselves with. Crawford is excellent on our disengaged relationship with physical objects, how we automatically replace old things rather than fix them, a reflex relentlessly encouraged by the advertising industry. And even if we do decide to have a go at fixing something, our efforts are likely to be stymied by needless complexity or inaccessible innards. I laughed out loud at his description of the way basic motorbike engines have become obscured by layers of ‘electronic bullshit’.
When I was a kid, whenever something around the house broke, my dad could fix it with little more than a pliers and a screwdriver. Nowadays, such self-sufficiency is all but impossible. Try fixing a stalled DVD player or even a wonky washing machine – that is if you can open the damn thing in the first place. Our stuff is complex and cryptic and not for the technically fainthearted. And anyway, the market is skewed to such an extent that it’s often cheaper to buy a new gadget than replace a part in an old one.
On the work front, the ‘knowledge economy’ is now touted as the only game in town. Get a degree, get a Ph.D., get a job on the information superhighway, churning data in a virtual world where nothing has a concrete existence and where manual competence has no relevance. This should sound familiar – it’s what a lot of us do every working day of our lives.
When I left college in 1983 with a degree in biochemistry in my back pocket, Ireland was in the grip of a full-scale depression (what’s new!) and jobs in biochemistry, or any other branch of science, were non-existent. I managed to secure an administrative post in the Civil Service, which I took on the basis that it would tide me over for six months or a year – until I got a real job in a real laboratory. A year passed, then two, then ten. By the time the economy picked up and science jobs began to appear in the ‘Appointments’ pages, my knowledge of biochemistry had become rusty and a new generation of young, up to date grads were trampling all over my C.V. So here I am, twenty-eight years later, a middle-aged, middle-manager doing a job that still feels kind of temporary to me.
This is a wonderful book. It’s thoughtful, quirky and analytical – and if you’ve ever looked out of your office window at the guy from ‘Shrubs in Tubs’ across the street planting flowers in a hanging basket and wished you were him, this book is for you. It spoke directly to me, a square peg in a round hole – and there are millions of other square pegs out there bashing themselves into round holes too.
If we are to properly understand women’s oppression in the West today, objectification and sexual performance must be understood as work. The sexual sell is real labour, propping up a socially mandated measure of erotic capital. From the working hours devoted to the purchase and strategic application of clothes and hair and beauty products, to the actual labour of dieting and exercise, to the creation and maintenance of sexual persona, self-objectification is work, first and foremost. Female sexuality, which every day becomes increasingly synonymous with objectification, is work.
Yesterday afternoon I was in my favourite sandwich shop in Bondi Junction, enjoying my avocado and salami while reading my book when I overheard an interesting radio advert. Two women are casually talking to each other and one says “You’re looking tired.” I must have zoned out at that point, because when the ad suddenly jumped to the name of a plastic surgeon, I realized that looking ‘tired’, apparently requires going under the knife now. What a wonderful world we live in!
Meat Market is Laurie Penny‘s first published work of critical commentary – of many I hope. It joins an impressive amount of journalistic writing, which can be found on her blog Penny Red, as well as The Guardian and New Statesman. Penny presents an overarching assessment of how many conflicting issues facing women today, from the continuing commodification of the bodies of women to the fragmenting within feminist ideology itself.
As such Meat Market is not a feminist work that continues to spell out basic tenets of the movement, already fought over for decades, instead challenging the complacency surrounding such notions as patriarchal society, or the modern liberated woman. “Why are we so afraid of women’s bodies“, she asks, that peculiar loathing for the female form in culture which demands it be plucked free of hairs, nipped, tucked and starved. I am reminded of Julia Kristeva’s theory of the abject. However, this trend is highly visible in contemporary society and not an idea limited to academic journals about the unconscious.
Penny identifies the constant focus on feminine appearance as a form of labour, one which necessitates a state of constant anxiety. Far from being liberated, women today face an increasing set of prohibitions on their behaviour. Feminism itself is blamed for any societal trend that is considered bad, such as the breakdown of the family, or even teenage drunkenness. So how could it be said that female liberation has occurred?
It is this notion of everyday ‘labour’, that the author uses to investigate the hypocrisy of attitudes towards sex workers. Pornography has replaced natural sexuality in the minds of many, burlesque commodified from an ironic vision of the aristocracy to a commercial entertainment, the fetishised female form a marketing device for every product under the sun – and yet women who sell their own bodies are viewed with contempt, denied basic protections under the law. The prostitute is denied any agency in the media, described variously as drug addicted, or innately criminal.
Feminism has failed to address the rights of the sex worker, even as luminaries such as Germaine Greer and Julie Bindel have failed to acknowledge the status of transsexuals. Instead mainstream transphobia is indulged, gender reassignment surgery seen as a lifestyle choice that undermines the aims of feminist ideology. Penny points out that such a stance fails to consider women who are intersex and that by refusing to defend the rights of transsexuals, those who seek relief from their feelings of body dysmorphia are left at the mercy of the medical establishment.
Penny also discusses the treatment of anorexia in the media, which only reinforces the myth that women (as well as a growing percentage of men) begin to starve themselves out of a desire to appear more sexually attractive. To counter this claim she includes testimony from several anorexics describing how they in fact desired to eliminate any trace of femininity from their bodies, while newspapers feature the images of ‘size zero models‘.
The author insists that feminism must rediscover its political impetus and give recognition to the women whose lives are spent working on multiple fronts, as well as engage men who have become disempowered themselves.
This book presents a compelling argument for the reassessment of feminist values, as well as the need to challenge the false consciousness of modern men and women. Personally charged invective that demands to be heard. I read over underlined passages repeatedly after finishing the book.
With thanks to Zer0 Books for my review copy.