Category Archives: Everyday

Ken Loach: Up The Junction

Up the Junction is one of my favourite Ken Loach films I think. It opens with all the jubilation of youth, of girls out on the town, meeting some boys, music and booze and happy chatter and dancing and that moment when you meet someone you really fancy for the first time. Those glorious moments. Sylvie (Carol White), Rube (Geraldine Sherman) and Eileen (Vickery Turner). From pub to pool to late-night drive — one of those nights you remember. These three friends for life.

Dave (Tony Selby once again, who was killed in the last Wednesday Play, Three Clear Sundays) takes Eileen  up to the ruins where his old house used to be, cleared out with the rest of the slums and his family moved down south to Roehampton. Dave takes Eileen by the hand and climbs the pile of rubble. (But what strange magic prevents you from taking screen shots of movies these days? These glimpses are most unsatisfactory, I can’t believe no one else on the internet has obsessed about these scenes.)

Their kisses are framed against an empty window, and the crane behind them is for the demolition of the old ‘slums’ to build new council housing, not one of today’s huge cranes for massive developments. I suppose those must also sometimes be caught in a  frame with working class teenage shenanigans, if there are any working class teens left in Battersea. It strikes me, though, quite forcibly, the contrast of these experiences of demolition and building between our generation and theirs.

I don’t know why but this was one of the most evocative series of scenes of the whole movie for me…

Forget it, I do know why. Houses lost and torn down and lives uprooted, and in the midst of this life and tragedy engendered anew? The symbolism is not lost on me. They kiss in the ruins, and it is followed by scenes of the final demolition: fireplaces and walls still covered with flowered paper stark against brick. A kid watching, face smeared with dirt.

Look at this haunting picture of a last remaining wall. Flowers lingering on the wallpaper, the outlines of rooms that once held families pried open to harsh gazes.

There is a narrative thread, but it is almost submerged within the brilliant samplings of conversations and the camera panning across faces. You are the perfect eavesdropper on multiple lives, from the kids dancing in the club at the opening, to the ladies chatting as they wash up the dishes. Again there is diversity (though these women of colour rarely get to speak). Amongst the women there exists a very different conviviality from what you see amongst the men. Women of all ages, shapes and sizes talking over manual work, from dishes to factories. Laughing. This is based on a novel by Nell Dunn — she and Ken Loach helped turn it into a screen play. She was not from Battersea herself, but lived here a while, worked in a factory a while. Perhaps that is why it still has a taste of nostalgia to it I think, a taste of idealisation, but perhaps it was just the amount that had to be sanitised for television.

It does have a great cover:

But to get back to the girls. Their conversations in amongst the snippets of conversations of multiple others all detailing the intimate details of their lives as they work making foil-wrapped chocolate santas and pistols, disjointed views of the process and the huge blocks of chocolate, the various (fascinating) machines with their whirring and clatter, the cups of tea, the chatter and the siles and always in the background the music of the 60s.

I love how these girls are embedded in this place, chatting to everyone, the laughter and bawdy talk between generations, jokes about baths. Joyce about to be married when she turns 16.

A packet of fags dropped in the chocolate. Dancing the twist  to the latest. This is life at its best, no? At least until the boss comes. At least until you get the chatty money-collector who’s tired of ‘the coloureds’. He is talking and talking, god he won’t shut up.

I’ve been out with plenty of floozies in my time, but I’ll never mention my wife to ’em…

But I love the scenes as he drives through Clapham, the brick rows of houses and women in the doorways. The glasses and kerchiefs and passersby.

It is hard to imagine this long-ago London, when Battersea power station was a power station and not an obscenely expensive setting for luxury flats surrounded by glass and steel.

Hard to imagine some of these stories. Story after story of loves and relationships and babies and abortions and death.  Heartbreak. new beginnings. Violent endings. Jokes.

Hard to imagine an abortion from a smiling sinister middle-aged women in the parlour, at a cost of four pounds. Hard to sit through a doctor talking about deaths and botched attempts and reeling off statistics. Rube walking through the woods in strange disjunction. Horrible clinical talk interspersed with testimony. I find this montage of voice and experience so powerful. The way that these moments rise up before us like icebergs and we crash into them.

And then, if we survive, they are behind us.

Back to the raucous and loud everyday, snogging and laughing and dancing down the pub. Though it’s not really all the same. But this is not a style of film that can really dig down into the ways we are broken and what we have to do to hold ourselves together.

Still I loved the women portrayed here. I love this form, with stories, so many stories, glimpses of more stories all set in surroundings that shape and are shaped by them. Surroundings now mostly lost. The three women at its centre just three among hundreds, thousands. Jokes and laughing and snippets of faces seen once and never again. Some of the lovely factory women who get a few more of their own stories, even a new love. Everyday life, poring over used clothes in a basket.

Everyday death, everyday commentary on the meaning of death. More jokes. Battersea Power station smoking as background for discussions of cremation.

It ends with Sugar and Spice and for me the song brought nostalgia for a time I never lived through, despite the fact that it is a kind of life I never wanted, that I fled from. But I loved watching them happy and walking down the London road. I wished them all the best.

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Luke Cage: Back to Essentials #1 and #2

Luke Cage: Hero for Hire — I loved these, much prefer Luke Cage to Black Panther though I am not sure why… But maybe I am. My adopted home ground may have been South Central LA not NY, but these are the gritty streets, the hustlers, the African American and Spanish-speaking mix, the dirty cops, the unfair prison rap that you can never come out from under, the community clinic hanging on by the skin of its teeth that I know and love… and I know it’s still almost all white writers, but there’s inker Billy Graham and he had a shot or two.

Look at this opening cover. Maybe I love Luke Cage because it is as much (or maybe more) noir than superhero comic, look at the elements up in this mix:

origin-imageTrue enough he’s unlike any superhero before him, just like his background and his neighbourhood — no surprise comics are as segregated as real life.

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Straight out of (prison) hell to Harlem… Of course, it’s no surprise that I should think this is more like noir, because they make it hard to miss. There are all kinds of references, Luke’s just another PI, right?

There’s a homage to Dashiell Hammett in The Claws of Lionfang from Graham and Engelhardt, and a hint to what they’re kind of trying to do, but not too hard given Luke’s doing some of that ‘unromantic’ footwork, but it’s all to find a dude who can control giant cats with his mind:

There’s lot’s of this colourful language, like the writers can finally liberate themselves a little…

img_4868Three hours of expletives that never repeats? Goddamn, now that’s some street.

You gotta love Luke’s reactions to the superhero world too…

img_4870C’mon man…how many times have I said that to myself? Especially reading Iron Fist and those Fantastic All-American Four, but anyway.

I loved this issue. Doom assumes he has to hire a black man to find escaped slave robots who have also disguised themselves as black so they can better hide themselves after they have fled? A creaky setup, but there are some fucking layers here. Reminds me too, of that crazy quote from Ross Macdonald’s The Ivory Grin:

“I think you said she was a Negro”
“I have no race prejudice–”
“I don’t mean that. Black girls are unfindable in this city. I’ve tried.”
— Lew Archer to client

There are these moment when the distance between worlds crystallizes into just a few words, the off-hand commonsensical acknowledgment of just what a segregated society white folks have created, but treat as just the way of things.

Billy Graham comes more to the fore in Retribution, where he is co-scripter and artist. A side story, one of many, showing Luke Cage just can’t stop himself from helping people in trouble, and in this case the victims are the construction workers destroying condemned tenements for ‘yet another round of urban renewal’, and finding themselves trapped (like the tenants once were? are still?).

img_4875See, you’re just not going to find references to urban renewal in the Fantastic Four or the other story lines, not like this. I know I shouldn’t be surprised at the world reflected here in such ways, yet still I am. Something about this black superhero allows things to be seen that are usually ignored completely. Then and now. They are suddenly part of the script, a sudden awareness of another reality.

Of course, the city in these stories plays its traditional role in the American consciousness — dangerous and dirty, home to criminals and those on the run. Still, it’s refreshing to see an ex-prison guard referred to in such terms, who’s the criminal now?

This guard advertises to find a job for himself in the personals? Almost makes you nostalgic….Check out these homemade costumes as well, they are pretty awesome…

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Back to Rich Man: Iron Man — Power Man: Thief. George Tuska artist, Graham inker, Len Wein writer. And the moment Luke Cage becomes Luke Cage (Black) Power Man. A little Black Power never goes amiss. Sadly he also starts calling people sugar.

img_4881Of course in this world you can’t just take on a name like Power Man and think you won’t get challenged by the last dude who had that name already. This is from The Killer With My Name — Tony Isabella with assist from Len Wein, drawn Ron Wilson, inked V Colletta — check out those middle panels:

img_4883Turns out the old Power Man is a bit racist…I enjoyed the shit-kicking Luke Cage gave him. I also liked the ‘my family was so poor…’ joke.

You can see, though, that they keep switching the team around, not like Black Panther who got a solid run at a consistent identity.

On to Essentials Book 2 – My old favourite flowery comic book philosopher, from the Black Panther in fact, Don McGregor writes some deep thoughts in Look What They’ve Done To Our Lives Ma!:

img_4894and Luke Cage faces Cockroach and Piranha. Piranha is a nod to the comic world, Cockroach a nod to the world of slums and predatory hustlers and shitty housing. I like the mix.

img_4895But in later issues the writing starts shifting around, as does Luke’s character. He is more and more violent, thinks less and less, then thinks more… they’re reaching to figure out what to do with him, so there’s Chicago storylines from Marv Wolfman as editor/plot and Ed Hannigan guest scripter, with Mace — just another vet who didn’t get the help with his PTSD that he needed:

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Luke running around trying to foil some harebrained scheme. And still succeeding with the ladies…

I don’t know why these panels make me laugh at loud, but they do. By the end of the volume it’s C. Claremont and Tuska

img_4900Oh shit, Black Buck? They came out and said it. Luckily there’s some people around to call him on it, sort of.

My favourite issue will be in a separate post — good old Mace starts up a gated community in the middle of nowhere and they try to blow up the Greyhound Bus Luke is on because it comes too close to their territory… I can’t even begin to describe how interesting that set up is to someone working on race and geography. Jaw dropping really. So I’ll keep that separate. It’s been interesting watching Cage change, get reimagined, first to be kinder, then to be more physical — though in truth all he knows to do is just go smashing in no matter what the odds.

I love it.

Sadly at the end he teams up with Iron Fist.

Oh, Iron Fist.

So annoying.

I might write about that essentials Vol. 1, I read them because Luke Cage comes in at the end…I also like the women in those stories I confess.

I might write too about the new Luke Cage series. I enjoyed them immensely,  though I’m a little bit conflicted about some things maybe.

Anyway, to end with a little salute to Billy Graham.

billygraham

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Novels as Written by Cats: Hoffman & Sōseki

A year ago we traveled to Hamburg, and in looking for what to read to learn more about the town I stumbled across the extraordinary book by E.T.A. Hoffman (1766-1822): The Life and Opinions of Tomcat Murr. Hoffman was a splendid author of books filled with horror and fantasy you see, and he created a character, a musician, called Kreisler who was a favourite of both Schumann and Brahms (who did grow up in Hamburg). I wrote more about the romantic ideals of genius and music here, based on the chapters about the enigmatic Kreisler found within The Life and Opinions of Tomcat Murr. The tomcat, however — whose autobiography sits ensconced within the Kreisler manuscript given the cat recycled the papers for his own purposes — Murr himself I saved for later. Because at almost the same time I started reading Hoffman, I received as a gift Sōseki’s I am a Cat, a rather wonderful coincidence. It did take me a year to get through the second — a novel read just before going bed and put aside during my many travels and travails of 2016. But having some overlap between the two was rather wonderful, as they share similar views of just what a cat might say when it is granted the ability to write and use them in similar ways to satirise human society. From Murr’s own introduction to his work:

With the confidence and peace of mind native to true genius, I lay my life story before the world, so that the reader may learn how to educate himself to be a great tomcat, may recognize the full extent of my excellence, may love, value, honour and admire me — and worship me a little.
— Berlin, May 18–

Above all I loved the playfulness of the language, the mockery of the romantic sublime:

My new friendship had made a deep impression on me, so that as I sat in sun or shade, on the roof or under the stove, I thought of nothing, reflected on nothing, dreamed of nothing, was aware of nothing but poodle, poodle, poodle! I thereby gained great insight into the innermost essence of poodlishness which dawned upon me in brilliant colours, and the profound work mentioned above, to wit, Thought and Intuition, or Cat and Dog, was born of this perception.

He’s quite an author, Murr, reflecting on the purpose of life, the limitations of friendship, and of course, love:

‘I have made inquiries,’ continued Kitty, ‘into your circumstances, and learnt that you were called Murr and that as you lived with a very kindly man, you enjoyed not only an extremely handsome competence but every other comfort of life, comforts you could well share with a pretty wife. Oh yes, I love you very much, dear Murr!’

Poor Murr, she would, of course, betray him. It is a brilliant counterpoint, however, to the grand tragedy of the figure of Kreisler and the aristocrats surrounding him.

SōsekiSōseki Natsume (1867-1916) wrote a different sort of book, more focused on the banal philosophies of an eccentric band of friends centered around the middle-aged figure of teacher of English literature (just like Sōseki). It, too, mocks the characters and the mores and fashions of the times fairly remorselessly as they are related through a feline indifference.

Nor does it fail to highlight the self-esteem and self-centredness of cats:

However, by virtue of felinity, I can, better than all such bookmen, make myself invisible. To do what no one else can do is, of course, delightful. That I alone should know the inner workings of the Goldfield household is better than if nobody should know. Though I cannot pass my knowledge on, it is still cause for delight that I may make the Goldfields conscious that someone knows their secrets. In the light of this succession of delights, I boldly dare to believe my brain is delightful as well. (103)

Sōseki I am a catThe cat has adventurous with friends and lovers, but above all it is satire on the very human condition. Here a laugh at his master:

every evening he makes a point of going to bed with a book which he does not read. Sometimes he makes a positive beast of himself and shuffles in with three or four boos tucked under his arms. For several days until a little while ago, it was his nightly practice to tote in Webster’s whacking great dictionary. I suppose this behavior reflects some kind of psychological ailment. (154)

His friends:

And who should it be but our old friend Beauchamp Blowlamp. With his arrival the entire cast of the eccentrics who haunt my master’s house was gathered on stage. Lest that should sound ungracious, perhaps I could better emphasize that sufficient eccentrics are gathered to keep a cat amused… (213)

But still, I know that what I love most is the absurd voice of the cat. This, I confess, made me laugh out loud:

Postponing my sea bathing to some later date, I have anyway decided to make a start on some sort of exercise. In this enlightened twentieth century, any failure to take exercise is likely to be interpreted as a sign of pauperdom. … [a long list of absurd cat activities] … Perhaps my most interesting exercise is jumping suddenly from behind onto the children’s backs. However, unless I am extremely careful about the method and timing of such exploits, the penalties involved can be uncommonly painful. Indeed, I derive so very little pleasure from having my head stuffed deep in a paperbag that I only risk this splendid exercise three times, at most, in a month. … Yet another form of exercise is clawing the covers of books. (225-6)

Stuffing a cat’s head into a paper bag! Rare punishment indeed. In these pages there is a mockery of fashion, nudity, masculinity, marriage, neighbour rivalries, love, wealth, ambition, the exploits of school children at the neighboring school and more. Through it all the cat remains above looking down, supercilious:

If we don’t watch out, even cats may find their individualities developing along the lethal crushing pattern forecast for these two-legged loons. It’s an appalling prospect. Depression weighs upon me. Perhaps a sip of Sampei’s beer would cheer me up. (467)

There is even a delightful tribute to Hoffman:

I have always thought myself unique in my knowledge of mankind, but I was recently much surprised to meet another cat, some German mog called Kater Murr, who suddenly turned up and started sounding off in a very high-falutin’ manner on my own special subject. … If such a feline culture-hero was already demonstrating superior cat skills so long as a century ago, perhaps a good-for-nothing specimen like me has already outlived its purpose and should no more delay its retirement into nothingness. (467)

But this foreshadows the — in retrospect the only possible and maybe rather funny — ending, which I found so horrifying to read I do wish I had not read it at all, only read about it. Which is why this sort-of spoiler is here, in case you are thinking of reading it yourself. It’s not a book of dramatic arc so this hardly ruins any of it.

Anyway, two amazing books by cats. Seems that cats offer a good mirror through which to observe ourselves.

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