into 2012…

Monday, January 23rd, 2012
walking on the beach new year 2012

walking on the beach new year's day 2012 © David Litteljohn

I came back from my adventure in Iran becalmed; no wind in my sails. It was foolish to expect to find those things I sought there; as if travelling were like going to a supermarket. Iran was a profound experience that I am still processing…

Soon after I returned, my dog, Ninja, died; at 15, a frail old lady by the end. Her kidneys failed. I cradled her in my arms as the vet injected her with an overdose.

Christmas came. I grumble every year and tell anyone who wants to listen (or who doesn’t) that I hate it. I abhor the way capitalism goes rampant. But this is only a layer thrown over the faded one the Christians, in turn, used to cover up the pagan celebration of the winter solstice. Beneath all the layers, there lies the hope and expectation, in the depth of winter, of the sun’s rebirth; the hope there is in the year beginning to swing back towards the light, towards the resurgence of Nature. This is a deep yearning, particularly in the North of the world. At this time I am forced out of my hermitic existence into the company of people, into the embrace and drama of family. Perhaps there too I (we) seek a rebirth.

A rat dug its way into my house and took up residence in its walls and ceiling. The beast never actually got into my house proper – into those parts I live in. Well, my sister claims she saw it towards the end of its ‘visit’ scurrying across the floor, but I wonder if that might not have been a mouse. We often have mice, but a rat seems altogether more threatening. Is it the folk memory of the Black Death that makes us so afraid of them? Apparently they carry disease, though I wonder if this is true of a country rat. Out here what is it that makes a rat, among so many other wild creatures, particularly odious? Even in the city, I would think that any disease a rat brings into our houses comes from the filth that we spread around us; perhaps we hate rats because they remind us too much of ourselves.

In spite of my, no doubt, sentimental love of the country and its beasts, I tried to kill him. But he outwitted me. Several times I found the trap snapped closed, with the tahini bait (I had run out of peanut butter) stolen. A couple of times I found a poor field mouse mangled in the jaws of the trap. When I tried to block his entry tunnel with rocks, he dug under them and, as if to mock me, took to racing about in my ceiling. Eventually I closed his tunnel with chicken wire. I think he’s gone now. By the end of his visit, I had become quite used to him. In spite of my ancestral fears, I wonder why I should resent some creature seeking shelter within the no-man’s land of the hollows in my house?

A gale blew a tree down over the power cable to my house. For three days we had no electricity. The thin skin of the human virtuality tore. The cold of winter seeped into my home. We scurried about trying to get things done before the sun went down – for, afterwards, though we had candles, trying to find anything, or do anything, was far more difficult. There was also silence. A profound and absolute silence. The rarest, strangest phenomenon: the one thing that cannot exist in the human virtuality is silence.

In the end, desperate to reconnect to that virtuality, I dug out the generator the previous owner had left, and that I had not laid eyes on in the four years I have lived here. Miraculously (seemingly so, for one used to electricity appearing ‘magically’ from the sockets in my walls), pouring gasoline into it, we could run the central heating, have showers, even power the TV for an evening. Very strange this business of converting gasoline directly into TV programmes. Also strange was discovering how much energy each system consumes: boiling a kettle caused the roar of the 4.8KW generator to rise to a screech.

So, with the skin of ‘civilisation’ torn back to reveal the cold, unforgiving and relentless reality beneath, I was left casting nervous glances towards the finite amount of gasoline I had disappearing, anxious it might run out before I had finished watching my programme.

So many of us now live entirely cocooned in the human virtuality, that it is almost impossible to see the underlying reality upon which we build our lives. Living in a house in the middle of nowhere, I would seem in a better position than many to glimpse that reality, yet it takes a storm for me to ‘really’ experience it – and what was my reaction? – a determined bid to reconnect, to force my way back into the cocoon…

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crucifix versus cross…

Sunday, September 12th, 2010
a crucifix in San Damiano in Assisi...

a crucifix in San Damiano in Assisi...

empty cross in a presbyterian church in Florida...

empty cross in a presbyterian church in Florida...

When I was in Portugal earlier this year, it occurred to me that not a single one of my Portuguese readers has ever mentioned the violence inherent in the Stone Dance, never mind complained about it. This stands in stark contrast with reactions in the English speaking world – where the violence contained in the books is often mentioned. This contrast linked in my mind with a comment my therapist once made to me that “you imbibed Catholicism with your mother’s milk”… At the time I was taken by surprise, being that I am an atheist and that I do not recall even being in a Catholic church (though I was baptised in one). My mother is a devout Christian, but though she was brought up Catholic, when we moved to Scotland, she abandoned Catholicism because she was uninterested in the schisms in Christianity. Her attitude seems to be that she believes in Christ and can’t see the point in denominations. As it happened, she walked down the street and joined the first church that she came to. As this turned out to be the Church of Scotland, she nominally is now a Protestant – though, as I’ve said, she’s not interested in such distinctions.

What, you may be wondering, does this have to do with the Stone Dance. Well, when I was in therapy, I became aware that the Stone Dance has a layer of structure that is profoundly Catholic in its sensibility. In fact, Catholic themes of suffering and redemption run through the books; there are fundamental subversions of the Garden of Eden story, of original sin, of the casting out of Satan from Heaven… All this in spite of me being an atheist and having been brought up with only a moderate smattering of Christian influence… But we can none of us, it seems, be free of what we “imbibe with our mother’s milk”…(see the first epigraph of The Third God)

What then does this have to do with how different cultures react to the violence in the Stone Dance… First: I myself was not really aware of the violence in the books as being an issue – violence seems to be such a natural part of our lives, that for people to take exception to it, seemed to me a tad perverse. I was, after all, writing a book about the world as I see it… and who can claim that that world is not saturated with violence? I began to see that it might not be the violence per se that some people were finding difficult, but rather something about the way that that violence was being portrayed. Please understand that I am here feeling a way through the shadows – I don’t claim to fully understand this – but I now wonder if it could possibly be accidental that the only other group of people who have not noticed the difficulty in this violence should happen to be people from the country in which I was born; that though I was only in Portugal for 8 years of my life… that I am still Portuguese. And what then could it be about being Portuguese that leads to a different attitude towards violence?

My solution, a solution that came to me when I was in Portugal on my recent visit, I can best explain by what I see as a distinction between the crucifix and the cross. In my experience, the dominant symbol in the English speaking world is the bare cross, unadorned, abstract. In Portugal, in the Catholic world in general, this cross has a man suffering on it. How profoundly is a culture shaped, the minds of its children shaped, by the difference between these symbols? The contrast between the abstract instrument of torture and execution, and the instrument being demonstrated in use, viscerally, by having a man depicted on it suffering? And it seems to me that the profound mystery (in the religious sense) here is that a man suffering on a cross should be thrust into the face of people – especially children – as the symbol of the most profound love. This seems to me to provide some insight into the difference in how people react to the violence in the Stone Dance. For that violence is ultimately about sacrifice and redemption. And it seems that I am Catholic enough to have portrayed a unity between violence and redemption, between violence and love, that is immediately understood by people who have grown up with the crucifix and causes much more of a problem for those who have grown up with the plain, bare cross…

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entrevista com Diário de Notícias…

Friday, July 16th, 2010

Isto é uma entrevista que dei ao Diário de Notícias de 22/5/10… não é fácil ler o artigo assim, mas o texto também está aqui… As fotos foram tiradas num daqueles dias de chuva em maio – e estava muito frio – deve ser por isso que parece que tenho uma cara de enterro… *sorriso*

(edited text courtesy of Daniel Cardoso)

© Diário de Notícias 2010

© Diário de Notícias 2010


© Diário de Notícias 2010

© Diário de Notícias 2010


© Diário de Notícias 2010

© Diário de Notícias 2010

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eros…

Friday, December 11th, 2009
ancient greek 'erotica'...

ancient greek 'erotica'...

Nothing seems to me more absurd than applying our social mores to other cultures. Some have raised nakedness to the heights: others have damned it to Hell. Is one right and the other wrong? The only person who it seems to me has the right to judge is someone from the culture whose mores and behaviour are being considered.

The ‘Peoples of the Book’ (Jews, Christians and Muslims) have a particularly strong aversion to nakedness and what might be considered a ‘restrictive’ view of sexuality. I wish I could go and see this exhibition. Why? Because, though I know this stuff exists, I have seen only a few photographs of it – and I am fascinated by the Classical world. And why have I not seen this stuff? Well, because, though so many museums have lots of examples, these have been kept locked away, only to be viewed by ‘experts’ who, apparently, are far less shockable than the rest of us… What ludicrous censorship! and amazing that a post-Christian society, such as I would consider Western Europe to be, should still feel constrained by this nervousness about sex. It is simply the case that the Classical world did not have the same ‘prejudice’ and these ‘erotic’ works formed a normal part of their everyday lives – if you don’t believe me go and have a look at the frescoes on the walls of Pompeii…

Now whereas in considering the Classical world, our prejudice merely deprives us of what was, arguably, a non-central part of that culture, in the case of Ancient Egypt, such prejudice entirely undermines our understanding of that culture. For a core Egyptian creation myth was represented in the holy of holies of their greatest temples by an idol of Amun, chief of the gods, holding his phallus in his hand. This was because they believed that Amun created the world through an act of masturbation… Now that is a profoundly different way to see the world than having, in that sacred locus, a man dying on a cross…

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