Babel

Dec. 11th, 2023 09:18 pm
qatsi: (capaldi)
Book Review: Babel, or the Necessity of Violence - An Arcane History of the Oxford Translators' Revolution, by R F Kuang
Periodically I browse to see what our local library has available online, and occasionally something appears that is already on my to-read list. This was one such occasion. Having read neither J K Rowling nor Philip Pullman, but seen film and TV adaptations of their works, both were at the back of my mind, with a whiff of a special child and a special school. In the foreword, Kuang is unnecessarily defensive about her adjustments to Oxford: it is an alternate Oxford, and so while many things will be familiar, there are tweaks and twists that clash with our knowledge, but not in a detrimental way - a translation of its own, perhaps.

In an alternative nineteenth century, Robin Swift is orphaned by cholera in Canton, but Professor Lovell brings him to Britain and has him schooled for entry into the Translation Institute in Oxford, based in its very own Tower of Babel ("bigger on the inside", would you believe it). Britain leads the world by virtue of its use of silver, with magical powers: inscribe the translation of a word on opposite sides of a silver bar, and energy is released by the gap, or loss, in translation. But there is a darker side to this, and whilst the theme is economic and colonial rather than theocratic, the approach is quite uncompromising. I found the pace gentle at first, up to about half way, when a lot of things suddenly happen, and the second half runs at a different velocity altogether. The end was one of the predictable options, but by no means the only possible one. Some of the characters disappoint, some things are more thinly sketched and it's difficult to hold them, some inconvenient truths are entertained, but overall this was a successful read.
qatsi: (lurcio)
Book Review: All Souls, by Javier Marías
I can't remember whether this book was recommended to me by R, or whether I just saw it on a pile. The premise described in the blurb on the back cover, of an affair between a visiting lecturer and another academic, probably wouldn't have particularly caught my eye. The citation from the Times Literary Supplement as "a dazzling example of the Oxford novel" might have drawn more attention - for what, exactly, is the Oxford novel?

In any case, the blurb somewhat mis-sells this book for me. Whilst the illicit relationship is the thread that weaves the story together, it's rather more an interesting collection of Oxford tropes: the caricature of a High Table dinner and the games academics play with each other, the spies, the secondhand booksellers, the beggars (I recall finding these quite intimidating on arriving in Oxford, and at some point, their number dwindled overnight, possibly some ruthless update to the law or policy in the early 1990s). I have mixed feelings about the gay character: on the one hand, it's important to document the dark early years of HIV/AIDS, but on the other, there feels some ubiquity in the writing, as if every gay man of the time had the disease (in this respect it reminds me of The Flanders Panel), and it hardly provides a cheery role model. Whilst this is definitely an Oxford novel, I'm none the wiser about the definitive article - Gaudy Night, Brideshead Revisited or Inspector Morse could all be candidates as well.
qatsi: (sewell)
When [personal profile] strange_complex mentioned that she was visiting Oxford, we pondered our plans as R had half thought about visiting the Ashmolean's Pissarro exhibition, and it seemed a good idea, if one were to mix with numbers of people indoors, doing so with another friend would at least tilt the risk/reward profile of the event. (We have, by and large, stayed at home for the last two years, with a tank of petrol lasting for many months).

So, we fought with the GWR apps on our phones, we debated the likelihood of the pay and display machine working, we wondered how long it took to walk from the station to the museum. In the end, the train journeys both ways were quite quiet (though on the return journey we judged well to head to the back section of an unexpectedly long train).

In the end, I was perhaps a little indifferent to the exhibition itself. Quite a lot of the works on display were prints and etchings, multiple versions of the same which may be of technical interest but not so much for me. The paintings were more interesting; a portrait of Cezanne, the inevitable self-portrait, a few works by friends for comparative purposes, and a number by one of his children, Lucien Pissarro. Many of the items were donated to the Ashmolean by the Pissarro family in the 1950s. For me, the highlights were the townscapes, the View from my window, Éragny-sur-Epte (considered "unsellable" at the time by Pissarro's agent), and Lucien's Éragny Church.


Camille Pissarro, View from my window, Éragny-sur-Epte




Lucien Pissarro, Éragny Church



We took in some other parts of the museum, including a small exhibition of Japanese works mostly from the first half of the twentieth century, which had a curious range in style from quintessentially Japanese to very European.
qatsi: (capaldi)
Yesterday we went to Harcourt Arboretum. Of course, everything nowadays must be booked in advance, and we'd put this off for a week or two due to weather, but the forecast was reasonable so we decided to take our chance.

It's many years since our last visit and I can't say I remember much, so I don't know how much it has changed. Not a great deal, I imagine. There is a lot of open space for an arboretum; presumably the Harcourts only wanted a limited area devoted to trees.
Harcourt Arboretum, Oxford

Palmer's Leys Meadows



Having got some decent exercise by wandering the perimeter of the meadow, we eventually found our way to the acer glade, one of the main attractions for this season. One or two trees had already gone over; some were still quite green, whilst others were in transition.
Harcourt Arboretum, Oxford

Traffic-light acer



One thing I do remember from the previous visit is the prevalence of peacocks. "The peacocks are not owned by the Arboretum. They are wild animals and may be unpredictable. Please do not feed the peacocks", warned the leaflet. Those we saw were presumably relative youngsters, as they seemed to have some downy feathers still, and they were no especially co-operative for photography. The litter of Oxford Sandy and Black pigs were a bit more open to these opportunities, I suspect having learned that the humans often approach with food.
Harcourt Arboretum, Oxford

Oxford Sandy and Black pigs



Though there were some cloudy spells, it remained dry and was often quite bright. With indoor attractions not a viable option for the foreseeable future, there's limited scope to get out and about. Covid cases remain relatively low here, but have doubled in the past week, and quadrupled from a couple of weeks ago, an all-too familiar pattern.
Harcourt Arboretum, Oxford

Harcourt Autumn Leaves

qatsi: (lurcio)
We went to Oxford today, to visit the Last Supper in Pompeii exhibition at the Ashmolean. It is, perhaps, an artificial construction, opportunistically blending aspects of Roman agriculture, food, drink and dining, with artefacts recovered from the remains of Pompeii. But for all that, it was informative and entertaining, including a couple of well-preserved mosaics featuring sea creatures and a skeleton, amid plenty of Roman cookware, amphorae, and a statue of Bacchus. The final section shows a number of artefacts from Roman Britain, including several from nearby Silchester, as well as a ghoulish resin cast from Pompeii, the Lady of Oplontis.
qatsi: (urquhart)
Book Review: Holt College - An Oxford Novel, by Brian Martin
This was a random selection in the work book sale. I didn't really know what to expect; I struggled to downplay the idea that this must be satirical, like Porterhouse Blue. I was also curious how Oxford would be portrayed, and whether there would be a steep learning curve for the outsider.

The story is told by Johhny James, a "young" economics fellow at Holt College. (I put young in quotes because he is one of the more junior fellows, not a Junior Research Fellow, which is something else). The college Principal is acting in an increasingly autocratic manner, as a CEO rather than a Chairman, and this has aggrieved some of the fellowship, James among them. This has become a more serious issue as some appointments and expenses are called into question. In parallel with the college politics, James also begins a relationship with Estelle Treisman, another of the other fellows. The story chronicles an increasingly bitter battle within the college governing body, and has some twists.

The literary geography of Oxford has always been negotiable; in this case, a mixture of real and fictional colleges are named; the location of Holt oddly corresponds best to Queen's, which is not one of the colleges mentioned (and notably, until recently, did not admit students to study English, which was Martin's own subject). The downfall of a Principal is reminiscent of the resignation of Sir Stephen Tumim across the road at SEH; though on that occasion apparently he and the college Bursar were in conflict, which is not the case in this novel. (Again, oddly, characters in the novel fret over the attention of Private Eye, which did have a long-running spat with that bursar in the 1990s). Ultimately I suspect anyone with any knowledge of Oxford machinations can recall college politics whose fragments can, to a greater or lesser extent, be projected or imagined onto this novel. It's a work of fiction.

Although it's relatively contemporary - the Principal's expenses are cast in the light of the MPs' expenses scandal of 2009 - I find the use of devices such as photocopiers and telephones curiously anachronistic, even for an Oxford college. The plot does seem at times exaggerated, though that probably is a fair reflection of the self-importance of the characters concerned. There are plenty of Oxford tropes - wine snobbery, outdoor concerts, gross moral turpitude, college grandees and fundraising. It's not Colin Dexter: despite the high tension, there is no murder. It fits well into the category of what Graham Greene would describe as "an entertainment".
qatsi: (sewell)
We went to Oxford on Saturday to see the exhibition of America's Cool Modernism at the Ashmolean. For the most part I enjoyed it, though one or two of the more abstract pieces didn't really appeal; it was interesting to observe a variety of influences from other places, including Soviet constructivism. My favourite pieces were the architectural (such as Edward Hopper's Manhattan Bridge Loop), the industrial (Charles Sheeler's Water), Martin Lewis' spectral Which Way?, and the almost Escher-esque perspectives of Samuel Margolies' Man's Canyon and William McNulty's New York in the Fifties.

We were fortunate to time our visit to coincide with a tour of the cast collection basement, usually not open to the public. About 1000 items are stored here, even of themselves now museum pieces, as the casts no longer have the significant academic function they once did. But it was interesting to appreciate the value of the casts in allowing, for example, exercises in re-combining statues that are now in different locations but may once have been presented together.

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