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Perhaps we would be justified by proclaiming that the Centre writes straight on crooked lines, and what it takes away with one hand, it gives with the other, If I remember rightly, that business about crooked lines and writing straight used to be said about God, remarked Cipriano Algo, Nowadays, it comes to pretty much the same thing
I went to a preview of Danny Boyle’s 28 Days Later at the Dublin Horrorthon, for Halloween 2002. As the producers were trying to build up positive word of mouth for this pseudo-zombie pic – and it is instructive to remember that the current horror glut had not yet washed up on the shores of the mainstream – the screening I attended was followed by a Q&A session featuring the director and stars Cillian Murphy and Naomie Harris. One member of the audience commented that the film reminded her of a novel by José Saramago.
I had never heard of the book before, so this proved to be my introduction to the Portuguese author. The novel Blindness does have broad similarities to Boyle’s film. A mysterious ailment causes the collapse of society, although in Saramago’s tale marauding zombies are not the cause, with the entire population of an unnamed country suddenly losing their sight. The novel has a sequel of sorts in Seeing, a political satire that is essential reading and not dependent on the previous book, although it does reveal the fate of the previous book’s protagonists.
Today’s book is once again a satire of sorts predicated on a surreal hook. Cipriano Algo is a potter whose business is dependent on the nearby monolithic Centre, a commercial/residential complex. Living in the shadow of the Centre, not only is Cipriano just barely making enough money from selling clay pottery to its residents, he is legally forbidden from selling his wares to anyone else.
The small business is run by Cipriano and his daughter Marta, whose husband Marçal enjoys an uneasy relationship with his father-in-law. Partly this is due to the young couple intending to move to the Centre, where Marçal works as a security guard. Cipriano resents that his daughter will eventually be pulled away from him by the Centre. Disaster strikes when his goods are finally rejected by the head of the buying department, with insult added to injury by the order to remove the surplus stock of clay crockery from storage.
Desperate to attempt to stay in business, Cipriano and Marta attempt to innovate by producing clay figurines instead. The Centre agrees to accept an initial order on a provisional basis, with the buying department head secretly enjoying the philosophical badinage he engages in with the quick-witted, but humble potter. Another addition is made to the small family by the arrival of a dog, named Found by Cipriano, who inserts himself into the lives of the struggling artisans. Meanwhile Marçal feels increasingly pressurized to achieve a promotion so he can earn the right to live in the Centre with Marta and Cipriano discovers a second chance at love with the widow Isaura.
Once again Saramago delivers an amazing combination of political satire, absurdism and philosophical inquiry. The callousness of the Centre towards desperate labourers such as Cipriano is masked by false niceties, symbolizing the double-edged sword of consumer culture. Issues of family loyalty are also dealt with, as Marçal finds himself goaded by his resentful father-in-law on one side and then being criticized sharply by his own parents for not agreeing to allow them to live with him in his promised future apartment in the Centre. Saramago also in a wonderful feint introduces us to the thought processes of the dog Found and its gratitude to the Algo family for taking him into their home.
Beneath all of the above, we also have several allusions to Plato’s parable about the Cave and the nature of reality. Saramago, I feel, was one of the most incredible literary stylists of the late twentieth century. Sadly the author passed away recently, but he was always fearless in describing thoughts and ideas that proved too controversial for his Catholic homeland. Reading his pages can sometimes feel like staring at a morass of words, with run-on sentences and absent punctuation increasing the feeling of alientation. Should the reader persevere, however, a natural flow to the language Saramago uses emerges, almost like poetry.
An incredible book, by an incredible literary visionary. Need I say it is strongly recommended? I thought not.
We were gabbing about Oprah’s abundant advice on how to improve our health, relationships, homes, finances, spiritual lives, fashion sense, and the list goes on and on. Winfrey inspires masses of women all over the world. And yet, it dawned on me, for every Oprah fan I’ve come in contact with, there has also been someone who can’t hide her vitriol about the media sensation. I wondered why.
So Oprah made a very exciting announcement on her show last week. To commemorate the last season of her talk show/infotainment hour, the most powerful woman on American daytime television is bringing her audience to Australia, courtesy of Qantas Airlines and Tourism Australia. Then John Travolta popped out of a plane.
And yes, they’re going to rename the Sydney Opera House the Oprah House.
So I felt it was timely to read Robyn Okrant’s book Living Oprah. From January 1 2008 this performance artist/yoga instructor/self-confessed Oprah addict wrote a blog dedicated to following every piece of advice released by every facet of the Queen of Television’s media empire. From her television chatshow, to O magazine and her online website, author Okrant would dedicate herself to ‘living her best life’, as per Oprah’s instruction. Novels bearing the Oprah book club seal of approval would be read, the medical advice of special guest Dr Oz would be followed and the various exotic dishes that met with approval would be dined upon.
To be honest, reading a book a day seems a lot less daunting now.
Okrant takes us through her experiences living under Oprah’s instructions on a month by month basis. Each chapter ends with itemised breakdown of the costs incurred and time spent on each activity. Also the growing popularity of Okrant’s Living Oprah blog transforms the author into a media personality of her own right, although on a much smaller scale. One of the admirable aspects of her endeavour is her refusal to accept endorsements, despite the financial costs of abiding by the rules of her challenge. Every time a book title is announced on Oprah’s book club amazon’s electronic shelves are emptied.
This leads to an interesting question. Should one person wield so much influence over such a large number of people? I remember Oprah’s syndicated show back in the 80’s when it was indistinguishable from the many other talkshows on the airwaves – Phil Donohue, Arsenio Hall, Regis and Kathie Lee. Oprah is now the face of an incredible media empire. She is courted by corporate, charities, celebrities and national tourist boards. Okrant begins to feel concerned when her guru announces her support for Barack Obama as presidential nominee as a ‘private citizen’. Had the chosen candidate been anyone else on the ticket, would she have been willing to throw her vote away for the sake of her project?
I believe the first time I encountered the word ‘Oprahism’, was in William Gibson’s Idoru. The book is set in a near-future era, where AIDS has been cured due to a mass media ‘saint’ and various new cults have sprung up to challenge traditional religions, including the worship of Oprah Winfrey herself. It was an amusing conceit, but perhaps we are starring at the disturbing reality right now.
Okrant’s book posits how is it possible to abide by any of the lifestyle philosophies, or commercial endorsements, when many are contradictory. A programme promoting detox diets may well be followed by an episode featuring a delicious desert. For want of a better word, Oprahism appears to represent a confusing mixture of cosy Objectivism, a Luddite resentment of modern technology, rampant consumerism and body fetishism. Okrant suggests that Oprah’s influence is so pervasive her audience swallows all of this whole, without any real critical assessment.
Of course Okrant’s own role in this is questionable. How sincere is this project? Is it performance art keyed to trending topics? For one she promotes that execrable book The Secret (which has also received Oprah’s thumbs up) – I don’t object to positive thinking so much, as the poisonous notion of ‘negative attraction’. Also during the period of writing ‘geek chic’, was quite popular. So Okrant quotes “With great power comes great responsibility”, attributing it to “Uncle Ben from the movie Spider-man, 2002. I told you I was a geek.” Quoting from the movie does not make you a geek – it makes you an audience member!
While this is a interesting project, I couldn’t help but suspect a degree of parasitism.