30 April 2009

The Niece

The niece, Dee, is now an adorable tyke of some 18+ months. Redundant statement given all aunts find their nieces adorable.

I have watched her grow in the months since I came back to Sydney and right now she's at that happy stage where she walks (more and more confidently), intersperses her baby talk with many legible words and has a cloud of hair that eventually escapes attempts to keep it neat. If you amuse her, she will reward you with a low gurgling laugh and you find yourself surprised at the happiness induced by it. She has her moments of annoyance, at other points she demonstrates a remarkable patience with the constant babble of the adults around her. Like any toddler these days, she is used to the camera and poses and pirouettes with ease. She also knows that everything she does is subject to admiration, increasingly a lot of things she does is thrown out with an awareness of being secure in an audience.

She is a happy child. Being the first child/grandchild, her upbringing has involved a lot of people and everyone has brought both love and conscientiousness to raising her. As a result of having people around her, she's also spoken to in three languages and we marvel at her ease with all. My cousin is considerably younger than me and was an adorable tyke too and it sometimes catches me by surprise that she is now a mother.

One thing has remained unchanged with the niece. Her face has always held a calm and sweet expression (though her father finds the days of constant calm and sweetness long gone!). That still sweetness always reminds me of the lines from the Frank Marshall Davis poem, Flowers of Darkness:

I see the flowing night
Cameo condensed
Into the lone black rose
Of your face

28 April 2009

Jamdani Upcycled

Image from DosaInc run by Christina Kim (click picture for larger view). Site also has heaps of other interesting visuals/write-ups.

Found via this site, where you can see more pictures.

26 April 2009

Boyl(e)ing Point

Continuing the widespread coverage of Ms. Boyle, the Sunday papers today also have a bit of Boyle. So I might well as provide my comment.

Boyle is routinely referred to as frumpy, ugly, hairy: no one it appears can refer to her without employing one of these terms. Yes its a reality show but like Australia's Got Talent, I assume Britain's Got Talent has loads of ordinary people. Its not the Idol series of manufactured pop stars as much as a weird melange of people who sing well to those who snort water up their noses. Boyle looks pleasant, slightly plump and middle aged. On BGT, she had on the kind of dress that one might wear to the wedding of an acquaintance. She's neatly turned out. In short, she's ordinary like scores of us except that she can sing far better than most. But the papers write as if she is a freak on par with a PT Barnum circus (it might be fair to say though that Britain's Got Talent conceptually is little better). I shall gag if I hear the word makeover, virgin and ugly in relation to Boyle again.

I have a colleague who is always making lists of things that suggest that Western civilization is in definite decline (Big Brother tops the list). To it can be added the fatuous coverage of Boyle. Let's just ignore the pressure and temperature conditions of Boyle's Law and say that the volume of gas is increasing.

24 April 2009

Marimekko/Cloth

The forest - or atleast the garden - on your bed.
Reminds me of the rain trees on the IIT campus.

More Marimekko here.

More B&W in Julie Paterson's Cloth designs which have a very strong Australian sensibility, design influenced by the outdoors and with a sense of the carefree.

On the left, currawongs, on the right, boardwalk.

23 April 2009

Cavafy's In the Evening

Experience tells me
it wouldn't have lasted long.
The stronger the light
the sooner it's spent.
And anyway the hand of fate
soon stalled it.

While it lasted it was good.
It had the scent of summer roses
in pure mountain air
where we lay on fresh green leaves
body to body.

An echo from those peaks
came whispering back
across the granite rockfalls
of the past -- a letter
full of the passion of those mornings.
I read it and re-read it
as the slow light faded.

I went out onto the balcony
to seek some alteration
of these long sad thoughts
by gazing at the movement of my city --
footfalls on the evening streets;
the stir of the lighted shops.

~Constantine Cavafy~
Poem Source

More Cavafy poems here. Cavafy always puts me in in mind of Lawrence Durrell. Not because their styles are similar but because of the presence of Alexandria in their work-Durrell also did his bit to popularise the poet in the English speaking world. Durrell's ripe and lush prose, not to speak of a tinge of colonialism, is out of favour these days (I must admit I never went beyond Justine) and therefore his reputation is ready for a resurrection. Why did I read Justine? Because Indians must be the last breed out there reading English literature written in the first half or so of the twentieth century, principally because a lot of it was available in India.

22 April 2009

The Woodbutcher's Art


Taken from Handmade Houses (published in the early 70s). Pic sources: 1 and 2. Pretty much my ideal house and shed I think. The photographs also have a timeless quality, they may well be paintings or early 20th century black and white photographs.

21 April 2009

Measure for Measure


NYT's Measure for Measure has come to a halt. Kind of sad since it introduced me to Andrew Bird and Jeffrey Lewis (also his illustrations).

Which in turn led me to Lewis' very cute Chelsea Hotel Oral Sex song. And Bird & Loizeau's duet London Town. And then on to Loizeau's L'autre Beau Du Monde.

Hazlitt

The popularity of the most successful writers operates to wean us from them, by the cant and fuss that is made about them, by hearing their names everlastingly repeated, and by the number of ignorant and indiscriminate admirers they draw after them : - we as little like to have to drag others from their unmerited obscurity, lest we should be exposed to the charge of affectation and singularity of taste.

It was formerly understood to be the business of literature to enlarge the bounds of knowledge and feeling; to direct the mind’s eye beyond the present moment and the present object; to plunge us in the world of romance, to connect different languages, manners, times together; to wean us from the grossness of sense, the illusions of self-love; — by the aid of imagination, to place us in the situations of others and enable us to feel an interest in all that strikes them; and to make books the faithful witnesses and interpreters of nature and the human heart. Of late, instead of this liberal and useful tendency, it has taken a narrower and more superficial tone. All that we learn from it is the servility, egotism, and upstart pretensions of the writers. Instead of transporting you to faery-land or into the middle ages, you take a turn down Bond Street or go through the mazes of the dance at Almack’s. You have no new inlet to thought or feeling opened to you; but the passing object, the topic of the day (however insipid or repulsive) is served up to you with a self-sufficient air, as if you had not already had enough of it. You dip into an Essay or a Novel, and may fancy yourself reading a collection of quack or fashionable advertisements: — Macassar Oil, Eau de Cologne, Hock and Seltzer Water, Otto of Roses, Pomade Divine glance through the page in inextricable confusion, and make your head giddy. Far from extending your sympathies, they are narrowed to a single point, the admiration of the folly, caprice, insolence, and affectation of a certain class.

Hazlitt again on the literature and writers of his time. Kind of sums up most of the modern book store.

20 April 2009

Bharat Se Bollywood Tak

In the past few months, I met a few Indians transplanted to Australia at a couple of drinks and dinner occasions. In the mixed crowd, discussion turned to things Indian, largely Mumbai blasts and the like. And then to lighten the mood, Bollywood. I confessed to rarely watching the films. The firangs having a love affair with the genre, of which these days there seem to be a fair number, were mildly discomfited. The transplanted Indians accused me of being a traitor. Though the mood was light-hearted, I was a bit surprised that not watching a Bollywood flick was suddenly on par with say, supporting Pakistan in a cricket match. Surely it wasn't always like this. After all in the not too distant past, friends had made the pilgrimage to Huma-Heena & Ambar-Oscar but did not insist on dragging me along on the grounds of patriotism.

I don't think I thought much about Bollywood till I moved to Australia. It is not a genre I am particularly fond of, perhaps this was because of a two year period in Kanpur when my mother, severely depressed, would dress us up and take us to see a movie every week at the Armapore theatre. My brother and I were then 9 and 11, respectively. Not one of these, from lurid movies with Sulakashana Pandit to Manmohan Desai crowd pleasers held any charm for us. More often than not we were piled onto our parents scooter with the bribe of a masala dosai to follow. Happily this movie going did not last but the prospect of spending three hours in the company of Bollywood is not one I look forward to even today.

When I moved to Australia, the reinvention of Bollywood from a guilty pleasure to a pop form in search of cultural studies was just beginning. "Bollywood on Bondi" was held, Lagaan had had good press, Bride and Prejudice was in the offing and so on. Kind people struggling to sustain a conversation would often turn to Bollywood. It was perhaps in all innocence, the way one may assume the popularity of a Friends or a Sex in the City in Sydney, but it did get a bit tiresome. It is a feeling not different from what an Australian may feel when questioned closely on crocodile wrangling. Indians I met would suggest getting together in the weekend to watch the "latest Bollywood film" - which set off memories of Kanpur sans masala dosai. If it played a minimal part in my Indian life, it seemed a wee bit omnipotent in my Australian life.

Partly, this is because the genre is now so emblematic of India. The movies of the 70s and 80s do not stand for anything except a general silliness and geniality, a means to kill three hours of existence with a stew of family values, songs and villiany writ large. More often than not it was also a social activity, few were the occasions when movie going did not entail a minimum crowd of ten. The morality of the times also meant that your elders disapproved, the suspicion that cinema was a corrupting influence lingered. Ergo, you watched fewer movies. These days that sentiment is old fashioned. Bollywood itself has changed to a self conscious form, a bizarre cocktail of moth eaten values admixed with money, raunch and music though the inexplicable plots remain intact. It is also India Resurgent, one can fashionably out oneself as addicted to the phillums and deconstruct their campness. Bollywood has been Warholised.

But we are also now beyond Warhol. Not too long back, SBS ran a series on Modern India. The episode, Manufacturing Dreams, dealt with the influence of the genre on Indian culture and its elevation from a disreputable form to one that had infiltrated daily lives. Even the middle class has been co-opted. The episode followed a wedding planner who relied heavily on Bollywood for inspiration, dance studios teaching Bollywood naach, middle aged women (and their mothers) demonstrating their jhatkas on national telly and the like. India came across as a reality show based on Bollywood in which everyone is an extra doing their bit. The soothing voice in the background remained neutral but the proceedings were a little cringe inducing. I am in no hurry to get myself into a theatre to do my bit for Mera Bharat Mahaan.

17 April 2009

Trawl Bridge Street

TRAWL BRIDGE STREET
Sun throughout the day, cold throughout the sun.
Nobody on the streets. Parked parks.
Still no snow but wind, wind,
a red tree burns in the chilled air.
Talking to it, I talk to you.
I am in a room abandoned by language.
You are in another identical room,
or we are both on a street your glance has depopulated.
The world imperceptibly comes apart.
Memory decayed beneath our feet.
I am stopped in the middle of this unwritten line.

~Octavio Paz~
Translation: Elliott Weinberger
Image Source

16 April 2009

Smoke Gets in Your Eyes

Mad Men is finally screening in Australia. It is pretty much everything the critics say it is. Most of all it looks to be brilliant, I was hooked from the first minute and in spite of my poor TV record, hope to catch the entirety of Season 1. And it is of course replete with retro fetishism, perhaps deliberately so. And yes scary Mel (Kristen Schaal, Flight of the Conchords) is also very briefly in it :-)

15 April 2009

This Life: Clothes

An old piece & one I like. I don't possess that many clothes these days :-)
_______________________________________________________________________________

1. When I moved to Sydney, in spite of several wardrobe culls, I travelled like a Victorian, albeit on an airship and without a hatbox. Accompanying me were two outsized suitcases of Indian dresses and what I then thought was Western attire suitable to my new life. Most lie unused in the upper recesses of my cupboards; astonishingly the lower recesses have quickly filled with Australian purchases. I suppose this is because fashion and buying clothes is a feminine preoccupation I am not always immune to.


2. The nature of the clothes I buy here are very different. For one, I finally succumbed to the ghastly charcoal grey suit/white shirt de rigueur for city offices. More pleasantly, it is a chance to explore the whimsical, the eccentric and the urban peasant in you. Not possible in India, which I think of as an affluent society. For the Indian middle classes, the very newness of clothes, bright, crisp colours, neat ironing and gold jewellery are all social markers of wealth and respectability. We are conformists; our clothes mark us out for social approval. Class, if not caste, is still important in India, not wanting to be mistaken for the domestic help we dress accordingly. Sydney in contrast, in spite of its obsession with labels, celebrities and designers, has a more egalitarian ethos. For example it's perfectly respectable to forage through hand me downs and your next-door millionaire is as likely to wear a frayed T as a surfing kid.

3. Indian fashion works within narrow confines, it is beautiful, the craftsmanship exquisite but its not what can be called astonishing or eccentric. A lot here falls into the same category and much of it is sourced from India. Every once in a while though the mould is broken. Fashion here is not all form and style; it is also whimsy, oddities,and curiosities. Garments with unfinished hems and seams, slashed and distressed clothing, enormous leather flowers in neckpieces, Edwardian frock coats over jeans, faded frocks, old buttons worked into chains, faded bleached colours (all seen by me here and all invested with an intrinsic beauty) are not the stuff of Indian fashion. On the fringes Gothic fashion with its pale look and fascination for black and metal is so extreme that even mainstream fashion here has had a difficult time co-opting the look. We could never wear any of this or its Indian equivalent without an inherent discomfort, without a fear of being mocked.

4. Because fashion is seen as a feminine preoccupation, it is often looked down upon. But clothes and accessories are nothing but objects – their use as instructive as that of any of the "things" of life. For example Native American jewellery of turquoise, coral and silver pops up often in stores here and encapsulates the absurdity of human experience where entire cultures get forgotten but their cultural objects get co-opted into our momentary yet persistent desire for pleasure. Even more tellingly, the turquoise and coral are faux, plastic beads assembled together in a factory in China. The significance of the stones to American tribes is lost; what remains is tawdry artifice, mere simulation. We still respond to the aesthetic experience of the silver, blue and orange but have no sense of its history. Likewise handlooms in India have lost their regional differences. Indeed so much is the cross fertilization of designs, so much the gradual shift from weaving to printing, from cotton to polyester that we are no longer aware of the significance of region,colour, weave or pattern.

5. Precisely after six months of my life when I feel a little drunk with the thought and beauty of clothes, for the next six I return to the Thoreauvian thought of "Never trust any enterprise that requires new clothes". The indulgence in pretty clothes, the desire for possession and the absurdity of "dressing well" begin to trouble me. Virginia Woolf, an eccentric dresser, writes of an attempt to buy a hat,
"green felt: the wrong coloured ribbon: all a flop like a pancake in mid air." One is arrested of course not by Woolf's fashion sense, which is immaterial, but her felicity with language. Woolf also observes with some wicked delight on the assistance women always offerto the fashion inept sister whilst well dressed women "are pecked, stoned, often die, every feather stained with blood - at the bottom of the cage". Clothes just don't seem to matter sometimes.

6. The wearing and removing of women's clothes is also invested with a certain eroticisation. A man taking off his clothes is direct; there is no teasing, no artifice as with a woman. Likewise a swathed man evokes no mystery. However, brides for example always arrive in a cornucopia of things - many layers a man must work through before his final prize. Indian movies of course make much of this. Then again, the supremely romantic moment of Monsoon Wedding is not its vulgar Punjabi wedding but the side romance replete with the ephemeral beauty of marigolds and clothes so homespun one barely notices them.

7. Coming back to Sydney, this season's offerings are bohemian, luxurious and plundered from most of the last century. Mismatched layers, shrugs, cardies, chiffon, luxe, tweeds, velvets, crocheted bits, the odd item from your grandma's closet, that kind of thing. The girls in the stores look pretty, all ruffled, romantic charm when they wear it. For the first time I just admire the clothes on girls dotting the streets like autumn flowers – but don't feel the temptation to buy some of it. It isn't that clothes don't matter at all as much as the need for possessing everything the world has to offer each passing month lessens.

8. The last word on fashion however belongs to DH Lawrence. Lawrence invests the uber bitch of
Women in Love, Gudrun Brangwen, with a dramatic fashion sense, especially for the Edwardian era. Thus Gudrun has a "dress of dark blue silky stuff, with ruches of blue and green linen lace and emerald green stockings", "a grass green velour hat", "her coat is a strong blue". On another occasion Gudrun and her sister Ursula are described thus: Both girls wore light, gay summer dresses. Ursula had an orange colored knitted coat, Gudrun a pale yellow. Ursula wore canary yellow stockings, Gudrun rose. Elsewhere there are silvery velvet dresses and a soft blue dress with red stockings. Lawrence, for a heterosexual man (albeit uneasy) of the 1900s, devotes much attention to the clothing of his heroines though his most famous creation, Lady Chatterley also has a more erotic Monsoon Wedding fashion moment when the most famous gamekeeper in history says it with flowers – albeit with a twist (I am not telling, read the book). While bohemianism is stock-in-trade for fashion these days, green stockings are still not a clothing staple. Fashion these days is so much the monopoly of women and homosexuals that I do wish there would be a Lawrentian moment in fashion – not just the stockings - but having a heterosexual man write seriously of fashion.

13 April 2009

A Rainy Day

Since morning, its been the rain's turn
On this sky-hiding, darkly-wrapped sky
As if today's wet Srabon's promised
To repay all of bright Boishak's debt
Rimjhim sings the endless blind cascade
All of time lost in its dense fall
As if the earth knew not days or nights
Its inhabitants fused together in an incredible rain.

fragment of a poem by Buddhadeva Bose.
Translated by Khademul Islam

_____________________________________________________

All of this afternoon autumn rain has fallen-Sydney, city of blues, is inky today.

12 April 2009

Jamnagar circa 1979

1. I must have been 13 or 14 when I went to Pirotan Island. If I cannot remember the exact age I can remember the mood of that time, that cusp between childhood and full blown adolescence. We lived in the cantonment, a speck on the speck of the map that was Jamnagar. An army green Shaktiman took a motley group of defence children to school, we came home to the same people. We played cricket with Ronnies, Buntys and Sunnys; an assortment of unchanged names that accompanied us each posting. I had just learnt to ride a bicycle and my brother, willing victim, sat pillion. We endured a million falls which left the tar and dust of the cantt roads in our mouths. In the evenings, we played with our dogs on the small patch that we maintained as a lawn, perpetually brown in Jamnagar's saline heat. My mother, conscious that she no longer had a child but a daughter on her hands, tried to instill manners and the use of cold cream every night. I, both precocious and not so, eschewed both in pursuit of books on Dialectical Materialism. At 13 I was a Marxist without understanding a single word of what I read.

2. The memories of my life that have remained crystal clear are often associated with water. These memories are so visceral and sensory that I can recall the feel and taste of every kind of water, from the slanting sheets of a Mumbai monsoon to my first taste of the Australian sea. It need not even be its physical presence; it could for example be a school lesson on the monsoon, my father's recitation on a summer night in Delhi making it a movement of winds, evaporation, condensation and precipitation, of water running over conversation and textbook. Likewise, the old tank hoisted above my grandparents house is gone but the splendid sense of isolation and coolness one felt sitting atop it and the thrill of opening the lid and peering into its dark waters hasn't. That single memory can encapsulate my entire childhood and everything I feel about my grandparents and their old home.

3. Circa 1979 if my mother was wary of sending me to Pirotan, she did not say so. Because I was in many ways a child, she perhaps did not want to frighten me into the awareness that I was nearly a woman. For like everything else in my life, I came to that realisation late. The girls at my school were different; there were rumours of boyfriends, older men they would meet on the sly. One girl was rumoured to be a lesbian (and when I think of her now I wonder how it must have been for her in that small town; nothing other than Radclyffe Hall's well of loneliness). But I was remarkably uncurious in some ways. I heard it all but it meant nothing and I remained preoccupied with Marx, politics, history lessons, old songs and novels in no particular order. I wore my frocks high above my knees, read my mother's books, dreamt my days away and had few friends unlike our previous postings.

4. The school's expedition to Pirotan Island was the first of its kind. There was nothing on the island bar a lighthouse; I cannot remember any residents. Our guides for the expedition were a few young zoology students from Rajkot's university and by the time we arrived a few long huts with a thatch and nothing by way of walls had been built. This was where the girls were to sleep. In the day we would explore the island and at low tide the sea. The students would find and explain marine specimens - crabs, jellyfish, mollusks – the jellyfish a white, cold slab - and we would hold them and make notes in our books. In the night, the food would arrive laced with the kerosene from the stoves on which it was cooked. The bolder girls would slip off under the Sister's eye (for I studied in a convent and the good sisters had organised this trip) and spend a few hours with the zoology students. One night, the wind howled through the open huts and we huddled inside the meagre blankets our mothers had provided, I have never been as cold as on that night. The last day of our trip, the wind increased and the girls struggled through a turbulent sea to get onto the boats. The head sister, a plump woman in a habit, was the last on the shore and as she waded into the water was suddenly lifted onto the waves. For what appeared to us a long time, she seemed to float and waft on the waters further and further away from us, her wimple and habit billowing, almost silently, dreamily, slowly. Then, the reverie was broken and the strong, sure hands of the men grabbed her and hoisted her on to the nearest boat. A collective prayer of thanks escaped from the distraught sisters, the more romantic girls voiced their own desire to be saved by the wiry arms of the students. I never saw the students or the island again.

5. I wonder what happened to the students. I also remember that year as being the one when the Morvi dam, somewhere between Jamnagar and Rajkot , broke due to torrential rain. The news came through my father as the Army had been called out. It had rained ceaselessly for days, in Jamnagar there was no electricity or water and I can remember the solitariness of those days – our little community contained and hemmed into its already isolated pocket. One day, in particular, I remember clearly only for its quotidian details – the day was a blue-grey, the rain had stopped. But the world itself was all slush, a watery mess from which we carefully collected any available clean water for the vessels. It had an odd sense of permanence and romance, as if we would always be so marooned, perpetually scooping the water from around us. For the old Morvi dam itself, the rain had been too much and when it broke, the waters carried away everything in its path. The dead were too many to count.

6. When I was 13, I had a room of my own. The room was intended for my brother and the dogs too. When night fell and our room was lit with its 40W bulb and I turned on the transistor, they would put in an appearance and mill around, perhaps even pretend to fall asleep for a while to lull me into the false feeling that they intended to stay. My brother would be the first to decamp to my parents room. The younger dog, male and erratic, would bound after my brother and they would (I assume) both curl into particular corners of my parents' bed for that is where I would find them the next morning. Mini, the older dog, loyal and kind, would humour me by sleeping at my foot, some days I would put my arms around her and she would stay till I fell asleep. But in the morning, she too I would find had left in the night. And this is how I would find them all in the morning, drowsily entangled in thin sheets and sharing the warmth and conviviality of my parents' bed.

7. In 1980 we left for Mumbai and I think I was never as happy again. Happy is the wrong word, really all I mean to say is that life has never been as seamless, pure and beautiful since.

7 April 2009

The Art of Domesticity

Selvedge had a short article on Primmy Chorley's work in one of its issues last year. Apart from the work itself, her house had something of the flavour of quiet domesticity. Sort of domesticity as philosophy i.e. it is not the craft itself that is important but how the quotidian rituals of domesticity lend meaning to life. It also put me in mind of certain kinds of films (Brodeuses, Scent of the Green Papaya) that focus on the minutiae and repetitiveness of women's work to give it something of a Zen like quality. All a far cry from the writings of Friedan or de Beauvoir where domestic work is a punishment, a repetitive set of oppressive tasks as opposed to the masculine world of action. I am torn between the two because I am attracted to both. Or maybe its just a matter of age. In youth you flow outward into the world and its many possibilities. As you grow older, domestic tasks become soothing, perhaps the reason both sexes tend to garden in later life. Anyway, more than Chorley's work, I liked the quietude that seemed to flow from the article.

Chorley's daughter is also a craftsperson and her work is a bit whimsical and also in tune with modern preoccupations like incorporating fragments and found things into "memory" pieces. Her work is mainly constructed books (the picture on the left is a detail from one of her "books" I think). Picture on the right is Primmy Chorley's "Dolls" sourced from the link provided above.

5 April 2009

Cycling

Cycling has become a moral imperative these days. In the last few weeks I have encountered more than one cyclist pedalling furiously, helmet in place. Most have been in National Parks, perhaps practicing for that other moral imperative of our times – raising money by cycling/running some predetermined distance. But a few have been on city roads, barely managing to avoid being roadkill.

I have an old fashioned view of bicycles and still feel uncomfortable with the new versions where the cyclist is kind of bent and wearing a helmet. This pose gives the cyclist a decidedly professional and determined air and I am reliably informed that the avid cycling enthusiast is not very different from the girl in pursuit of a brand. Cycles these days are expensive, high maintenance vehicles, which is a far cry from the Rs. 300 bicycle that you pumped manually. And then there is the rest – knee caps, helmets, clothes et al.

The new cycling leaves me very depressed. It has little of the amateur and even the sense of fun of old cycling. It is hard to imagine a “Jules et Jim” cycling scene these days or the old Hindi films where collegians managed to sing and wave their arms and cycle. Hard even, in Sydney, to imagine the convivial cycling masses of old Beijing or small towns in India. No cyclist here smiles or looks even remotely cheerful – absent is the sense of insouciance so integral to cycling. They are making a point and you had better not forget it.

Irate cyclists write to the newspapers – a war is on between the pedallers and the petrolheads on the streets. Forgotten in all this is the walker. You cannot walk in a park these days without being run over by a cyclist furiously bent on single handedly breaking the park’s last record, for the park is now a velodrome. Worse are the families that cycle together – in packs and keen on burning up the calories, they force you onto the grass with not a word of apology. Ambling or indeed even cycling with no particular goal has become a forgotten art. Make amateurism a moral imperative you want to cry before nimbly stepping aside for the manic pedaller.

PS: Salon wants you to take a walk.

3 April 2009

The Swinton

The Swinton has got herself an Oscar. Has acted with George Clooney & Brad Pitt. And has a mini page devoted to her dresses. The Swinton is therefore a Hollywood star.

It all seems a long way from her Orlando turn and playing various mad, bad people in Derek Jarman's films. The Swinton is in particularly good form in Orlando, Sally Potter's film adaptation of the Virginia Woolf gender bending novel. Whether it be pining for a Russian princess (Potter has some great visuals recreating London's Great Frost in this section) or pledging brotherly love with Lothaire Bluteau's The Khan in its slyest scene, its hard to think of any other actress in the role. In fact The Swinton seems the last person to be a Hollywood star but there she is even though she feels all together too magnificent to be in the gossip columns under the cougars and toy boys section.

I have yet to see The Swinton's new films. Still, she seems one actress equipped to survive the cross over from interesting marginalia to Hollywood dross. The Swinton is always The Swinton.

Image Source-also has a pretty good pictorial summary of Orlando.