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    My Kafkaesque nightmare in Prague

    October 2, 2023

    How a family holiday redefined my understanding of modernist literature

    I am a person who says ‘Kafkaesque’ with alarming frequency. If a bank statement arrives by post rather than email, it’s Kafkaesque. If my mobile rings and it shows as a sales call from, say, Rotherham, a town I’ve never been to, it’s Kafkaesque. And clearly if anyone uninvited comes to the door, phones, or even emails me, it’s deeply Kafkaesque. If the prime minister is on TV a lot, Kafkaesque. If a monarch is on the news, it’s equally suspect. If I can’t get into a nightclub, it’s all very Kafkaesque. Perhaps it’s for this reason I haven’t been to a nightclub for about ten years, a result of those Kafkaesque door policies, rather than the woeful state of my trainers. Kafkaesque has long been one of my go-to terms for anything which smacks of paranoia-inducing bureaucracy or ominous coincidence. I say, ‘one of my go-to terms’ for this. Actually I have several but that’s another story.

    Indeed my comfortable straight CIS white male middle-class life in the UK is sooooooooo Kafkaesque, for this reason I was delighted and relieved to be able to share my borrowed worldview with family from abroad, as we travelled to Prague, once home to that famous writer, for fittingly Kafkaesque reasons. Let me explain, I was visiting said city with my wife, our child, and my open-minded in-law parents. These in-laws live in Delhi and so needed a Schengen Visa this summer in order for the rest of us to holiday somewhere off this blighted isle in the North Sea. But get this! The only visa they were able to get in time was for the Czech Republic, so we kicked off a ten-day European holiday with a four day stay in Prague. I couldn’t begin to tell them how much this odd quirk of European immigration policy had felt to me, very distinctly, like a juridical summons. And yes, I have been taking my tablets.

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    Pretty soon we were sat in a meat-and-beer-focussed restaurant with a distant view of the castle to which K attempted, with only partial success as I remember it, to gain admittance in Kafka’s novel The Castle. And from our pavement table I could well see his predicament. Prague climbs, angular roof by roof, in cubist fashion from street level and tramline to the elevated perch of its former rulers. As I tucked into my goulash, I could see many ways in which it presents the eye with topographical challenges that are at once architectural and metaphysical. And as my eyes clambered up to this walled seat of authority which can’t have been more than a kilometre away, is it fair to say I felt the pitiless gaze of a nameless authority. Eyes turned back on me and my unsuspecting loved ones.

    There seemed little way to explain this irrational feeling. But I felt an urgent need to pass it on somehow. So I lobbied for a visit to a whole museum devoted to Kafka where I felt that I might bequeath some of my paranoid worldview to Prof D, Little A, Nanu and Nani (as I will call my family members, for the sake of anonymity rather than literary conceit). I wanted to share. I wanted to be understood. I wanted to be a guide, so help me. But it was always something of a vain hope. Prof D, my wife, is a rationalist and a logician. Little A, while admittedly showing an interest in the fantastical premise of The Metamorphosis, is also far too sensible to attribute too much importance to worldly coincidence. Nanu, my father in-law, has literally written three books about positive thinking, rather than negative determinism. And Nani, my mother-in-law, whose number one hobby is prayer, would not be likely to recognise to the depressingly finite universe of K and his associates.

    The Kafka Museum opened in 2005. In a city chiefly known for beer, a bridge and medieval, animatronic clock, it provides a valiant focal point for those interested in Prague’s literary heritage. By the time we had reached the museum, beer, bridge and clock had all been duly experienced. My four Prague neophytes had got a feel for the maze-like city planning, the weight of history in the medieval old town, and the precarity of a stable existence in the long-contested governance of the Czech part of central Europe. They were primed to wake up transformed, if not into beetles as such, then at least into fans of modernist literature (I should point out that my wife, Prof D, was in actual fact not not a fan. She has indeed read some Kafka, but woe betide me if I ever wake up beside her claiming to be a cockroach).

    Prof D took it all in, therefore. The vintage photos, the early film, the sepia letters caught like insects in large vitrines. As I read these letters side by side with my wife (a feminist who works in academia on the topic of gender) I began to nervously realise that my hero Kafka was something of a player. I knew that he was in correspondence with a handful of women. But on the evidence assembled here – photos I was seeing for the first time – they were all three smoking hot, in a fin-de-siècle stylee. And the selective edit and translation here of Kafka’s ardent letters (the museum holds so many!) suggested he wasn’t quite as cripplingly shy as I had assumed from my own previous, and apparently blind, reading of his entire epistolary output. Yes, I ploughed through them all in the 90s. So if these buttoned up babes were on social media today, yer boy Franz would be so far gone into their DMs that I doubt any other writing of any sort would have got done. I looked at Prof D with trepidation. Would she decide that in our house we simply cancel the term Kafkaesque?

    Prof D was, I realised with awful clarity, undertaking a full academic investigation of Kafka’s appeal to a person like me. And indeed, thanks to her I was making note more and more ways in which Kafka was coming to appear to me less and less Kafka like as the visit went on. He was, it now appeared, a bona fide professional when it came to the notary business, a model worker and a legal bro if you will. Prague may be in the historical region of Bohemia, but K had very little to do with the values we now call Bohemian. Kafka was more in debt to Jewish traditions such as Kabbalah, and… he had daddy issues. Prof D was drinking all this in. This place surely offered the chance to rebut her husband’s most oft misused epithet.

    But another part of the museum was on more familiar ground. This was an L-shaped gallery, resembling a corridor of power, which held wall to wall filing cabinets. Certain of these were open to reveal first editions, manuscripts and other texts sacred to a fan of Kafka. Here were also vintage telephones, which connected to sonorous voices reading Kafka down the line. It would be terrifying, so went my reassuring thought, to pick up a ringing phone and receive an earful of The Trial. (All landlines are vintage now, it should be noted. At home I got rid of ours since the only callers were the network provider trying to upsell us product and angrily insistent scammers trying to access my laptop. I feel, as already stated, that Prague’s most famous son might have understood.)

    But while we had been losing ourselves in visions of old Prague, Nanu, Nani and Little A had been out in the sunshine waiting patiently for this strange museum to exhaust our interest. Seems like it hadn’t worked. Neither my wife’s parents or our daughter had caught the vibe of laugh-out-loud guilt and paranoia which I’d hoped to inspire them with. Instead, Little A was suddenly to pronounce, “That’s absolutely disgusting!” I followed her gaze. Across the courtyard was a sculpture by David Černy which I swear had nothing to do with Kafka. Due to a charming water feature, two life-size male figures in tarnished bronze were engaged in a continuous pissing contest while a lake, the shape of the Czech republic formed around their ankles. It repulsed all four of my companions with good reason, who will doubtless now forever associate modernist literature with bodily excretions. (Hmmm, might work for Joyce).

    Okay, so words on a page were found to pale beside an indelible visual image. Maybe, just maybe, thought I, a visit to the very castle which inspired The Castle will evoke the miserable hilarity of K’s life in a way that this museum, with its letters and printed material was always bound to fail to do. We planned for a whole day at this UNESCO World Heritage Site. In fact, it’s not a castle, it’s a walled village. A reasonably priced ticket afforded entrance to a harmonious romanesque basilica, a vaulting gothic cathedral, a more or less neoclassical palace and a medieval shopping street. At no time were we approached by strange characters, no doors were closed in our faces, and in no way did I feel that Kafka’s real life castle was withholding anything from us. After climbing more than 200 steps to reach the arched entrance it was disappointingly easy to access, not Kafkaesque at all.

    In fact, having reminded the assembled party that this castle had a namesake in one of Kafka’s three famous novels, I began to worry that for Little A, Nanu, Nani and even Prof D, the term which I found so useful for evoking a sense of semi-mystical social control was coming to mean nothing but joining long queues and shuffling around churches. However, I also noted that the layout of these buildings was weirdly ad hoc. The cathedral cut across the vast square at a diagonal to all notions of common sense. This was a hint of sinisterly planned randomness that we were at least able to share.

    In fact we did enjoy a bit of architectural dissonance on this trip; It caught the mood, because our four day city break included a sunset drink on the roof terrace of a building in an apparent state of drunken collapse. This was the fabulous nine-storey Dancing House, an office designed by Frank Gehry. It won the hearts and minds of my beloved fam where some more obscure literary motifs – hunger artists, cockroaches, and protagonists accused of nameless crimes – had failed. Our views across the Vitava River and the traffic ticking around across many bridges evoked a city where, life simply goes on, and Kafkaism is not really an everyday problem for the people who live here. It is just a concern for pretentious, ostentatious name droppers who once studied a little bit of literature and who try to dress up their otherwise totally pampered and charmed lives with gratuitous displays of existential pain. Whoever they may be.

    Pain had so little to do with our stay in the city. Good food, yes. Sensational beer, yes, of course. But pain? No. Not until the very final moments. It was 10.00 AM and the five of us were on a street corner by the hotel ordering up an Uber ride. There was a train due to take us to Vienna at 11.00 AM. Reader, you know it’s annoying when the little toy car on the map in the app fails to move in your direction, and then it suddenly does, but then again changes direction, and it goes round in a little circle, and you cancel the first car, but then your next driver preforms the very same wiggle-dance all around the twisty streets of this unfamiliar city, and you cancel another ride, and a third driver does the same, and when the fourth driver comes you have most likely missed your train because a fifteen minute journey is now showing up on the app as likely to take half an hour. Then you reach the station. The train is delayed by ten minutes and you run, the lot of you, burdened down with cases like so much metaphorical emotional baggage, and you reach the platform and bravely up ahead there is Little A remonstrating with a conductor and the five of you clear the escalator and arrive on the platform just as the train, begins to move. That.

    “Wow,” said Little A, “that’s not good”.

    “Yes,” I agreed, guiltily, “It’s not even pre-ordained bad luck this time”.

    The five of us turned around reluctantly and made our way to the ticket office to try and get a re-issue or a refund or replacements or anything which would get us on the next train out of Prague. We had no joy whatsoever with the representative of Czech railways. She was, indeed, like a brick wall dead end at the end of a complex labyrinth.

    But I couldn’t even say it. Me, a person who dropped Kafkaesque into every conceivable scenario, couldn’t find a word for it. At breakfast, for some reason, I’d decreed we didn’t need to prebook a taxi from the hotel reception. My bad. I had come to Prague in search of Kafka. I had found instead the consequences of my own carelessness. It was I guess Marksheerinesque. Apologies to both sides of my family, but what a trip!

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    BROmania 2023: the full report

    September 15, 2023

    Two brothers settle old scores in the Balkans

    A long time ago there were these two kids, poor things, stuck in the back of the family car on long camping holidays across continental Europe. Their only escape, these kids, the only way they could feel in control of their lives, was to pretend they were actually driving the car. And by the power of the imagination, via the gift of mime and American accents, these two kids dreamed themselves to be in full command of the map, the open road, the snacks, a more sporty vehicle (a vintage TR7) and their own car certainly possessed one cool feature which their parents’ model lacked: cupholders.

    Fast forward more than 40 years. The kids have grown into men. They have taken their vision, their childhood dream and manifested it in the form of trans-European bro-trips. They have used cupholders on the road from Toledo to Bilbao, Bilbao to Madrid, Dieppe to Bayeux. I could go on. Now, imagine it is 2023 (it is), imagine the two men (who, remember, are innocent kids at heart) have decided to travel across Romania, imagine the younger of the two men (who goes by the name of Blue) has invited his 50 year old bro (aka Red) to DJ, while he takes the wheel. And you have in mind Bro Trip IV; we called it BROmania.

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    Not content with the mild caravanning exploits of their parents’ generation, these two kids, now grown, were to eat up the miles and drink up the open road. They were questers from a time of yore, from the 1980s to be exact, in a mustard coloured hire car, a small Peugeot with adequate facility for cold and flavoursome beverages to remain upright and to hand. Even as the satnav directed us, Red took charge of the music. Music guided us equally well as google maps. The trip was characterised by banger after banger, if you can imagine that. The two former kids raced through village and town to the accompaniment of their uplifted voices: ‘Chooooooon!’ they would cry and the locals would look on in admiration despite their love of tradition.

    Perhaps they knew. Perhaps those gentle shy men on wooden carts knew. Perhaps those aging babushka types who stared at the former kids simply knew. The secret, which only now we can share with the world, was this: we took this journey to settle scores with one another, to solve a conundrum which has haunted humanity since it first painted animals onto the walls of their caves: what is best? The natural world or the realm of signs? Let’s do this, we said, let’s settle this. Bro Trip ’23: BROmania would be the occasion of humanity’s first Nature vs Culture Smackdown. In the blue corner, there was Blue: a keen ornithologist and dog lover who would walk bravely among bears. In the red corner, there was Red: some kind of self-appointed art afficionado and reader of too many books. By the time the final whistle blew on the UEFA Champions League final, a whistle which, at midnight on our last day in Romania, would echo throughout Europe, we were to have sorted this question out. Once. And. For. All.

    It started as a hoot, literally. Blue was at the wheel of his Tesla, en route to Luton airport. Beside him was Red, maintaining a companionable silence since it was too early for tunes. It was, reader, 6am. The roads were empty. The sky was wan. The world was but a ghost. But suddenly they both heard it, like a hallucination planted in their auditory cortexes: “twit twoo-ooo-ooo”. Nature-loving Blue was on the case, scanning the horizon like a sailor who knows that somewhere, over that blue line, is a sweetheart waiting to welcome him home.

    Quick as a flash, he spotted it. “Barn owl at 11 O’clock” he shouted with requisite urgency. It was flying parallel to our deserted fenland A-road. “10 O’clock” he cried. “9”. Suddenly this great winged beast lilted in the direction of the car and flew past the Tesla windshield at point blank range. We could make out every feather together with the wise expression in its heart-shaped face. It was quite chilling. Not least for the fact that in the Bromania culture wars it was 1-0 to nature. And we hadn’t even left English soil.

    Several hours later we had left that soil behind. We collected our hire car and Blue took the wheel. Red had the more complex task of controlling the playlist that would send us hurtling through Transylvania to the regular cries of ‘Choon!’. The road was long and the satnav was reliable. But then out of nowhere Red cried out. “Pull over! Pull over! Quick”. Blue did as he was told and, having parked safely, calmly said: “Your warm pullover is in your purple case, remember bro?”. “No!” he was told now, in no uncertain terms. “We must stop here to visit Cantacuzino Castle. This is where Little A’s all-time favourite teen gothic drama was filmed, Wednesday. This was Nevermore Academy”. And so it was. We spent half an hour strolling around this impressive, turreted pile in the village of Busteni in Translylvania. We took some photos. We got in back in the car. Solid point to Culture. 1-1.

    It wasn’t long before Culture gained another point, or should I say ‘pint’? Yes, reader, these two forgotten kids were now of drinking age. They found their Airbnb, with stunning views across Brasov, with off road parking, with plenty of space, and while Blue unpacked, Red carried out the most important task of all: consulting the guidebook to find a quintessential local bar. We found one. We found a table. We found ourselves in an outdoor courtyard on a balmy June evening in a cosmopolitan city. We ordered Romanian beers from a lengthy menu, and, having said cheers and toasted the bro trip, we each took the first sips which were to signal to our limbic systems that our holidays had begun. I chose a draft pilsner. Blue chose a bottle of ginger and chilli beer. And we looked ahead to a week of adventures. NATURE HAS NO SUBSTITUTE FOR THIS! 2-1 to Culture.

    Blue knew he was losing. He began to cheat. As a result next day he took us walking in a forested gorge. Between two madly high vertical cliff faces, one of which was knowns as God’s Wall. He insisted we follow the rock-strewn path of a dried-up stream which took us deep into the bear-infested forest. We met two other hikers. The first had a bell. To ward of bears. The second had a pocket siren and a can of mace. To ward off bears. We had nothing of the sort and they wished us good luck, which was nice. And it began to rain. We could see none of the rare mountain goats Blue had promised. This was surely nature at its very worst and I was about to suggest that Blue should lose a point, for being a total loser.

    But then something amazing had to inevitably happen. We saw a fluttery shape amidst the crags. A bird known to Blue as a wallcreeper. I was the one to spot it. Eleven O’Clock I cried, giving him location intel in the militaristic language I know he likes. But then I realised that Blue had let me be the one to spot it. He’s good that way, he also checked I brought my pullover. Serious bird spot, mind you, ticked off! 2-2 in the nature/culture wars.

    The next point to culture was an open goal. We decided to visit Transylvania’s number one tourist site: a castle with tenuous links to Vlad the Impaler who may or may not have been the inspiration behind the Dracula myth. It cut an imposing shape on the horizon as we both cruised through the surrounding village called Bran. Heads turned to see who these foreign kids were, blasting tunes as they rolled past. We parked up and climbed the steps to Count Dracula’s lair. The castle was an intricately put together network of chambers, courtyards, balconies and hidden staircases. Museum-like displays reminded us to be afraid, to be very afraid, and the point for culture was clinched by the exhibition of a small valise containing garlic, crucifixes, a short stake and a silver hammer: truly a vampire hunting kit if ever there was one. 3-2 to the expressive works of humankind.

    It began to feel as if Blue had upped the ante, when he faux casually announced that the next agenda-ed activity was to meet a forest ranger who would drive us back deep into the trees where we would take our places in a hide and wait to witness the arrival of bears. For those cultural folk who don’t know what a hide is, well it’s basically a black box-like viewing space such as you might find showing an artist’s film in a well-curated gallery. Except, in one of these ‘hides’ you merely look at stuff in the outside world. It was wild. Especially when 13 brown bears rocked up. The ranger’s face was disfigured by a scar… once inflicted by a bear. I began to feel quite glad I was safe in the gallery, to use that term loosely. The bears were stealthy, emerging from all directions, before climbing back into the depths of their bosky habitat. And even an effete connoisseur of post-conceptual art like myself, had to recognise the thrill imparted by their power, presence and occasional bursts of speed. 3-3 to nature. Damn!

    The next morning Red accepted Blue’s critical mission: to rise at 4am, kit ourselves out with binoculars, cameras and zoom lenses and then drive to a secret location in which we would hide the car and proceed on foot to the side of a private local lake…ALL BEFORE DAWN! Blue had tried to put Red off. It will be boring he said. But hey, there is nothing boring about parking in total darkness on the side of a dirt road and then trespassing on the grounds of a fish farm in a strange country 2,500km from home. I’ll admit it. I was nervous. But then the miracle occurred. An eerie orange light began to bleed upwards from the horizon and form hypnotic luminous tracery around clouds low in the morning sky. Blue was blasé. Back in Cambridge he carries out missions like this all.the.freaking.time. But Red literally could not remember seeing his last sunrise and had certainly never seen one quite like this. The light revealed the far side of the lake, the trees yonder, the silhouettes of swimming birds and the occasional motion blur of a jumping fish. Those fish were monsters. No wonder it was not long before a Romanian in a four by four appeared to evict us from his land.

    Blue thought quickly. There were birds to be seen. What could this local fish farm manager possibly want? How did one say ‘please! I am an ornithologist’ in Romanian. Before I knew what was happening Blue was handing over money to the fish farm doorperson. It turns out he spoke the international language of money, which, of course, Blue speaks better than almost anyone else. The man drove off, leaving us free to observe a rollcall of fine feathered friends. Blue was able to verify the following: pygmy cormorants, an osprey, a lesser spotted eagle, herons (grey, squacco, purple and night), plus coots, terns. It was really something. In fact the herons were everywhere; it seemed as we walked the boundaries of this endless fish farm that every twenty paces we would disturb yet another and watch it fly across the water. They roosted together as if in a diorama of a natural history museum. This mission may have been outside Red’s comfort zone, but he felt compelled to hand it to Blue: your guys rock. I award this adventure one point for the sunrise, and one point for the diorama. The car was where we left it. 5-3 to nature.

    Red was flagging. There were red flags everywhere. Face it, I thought, this is a beautiful corner of the (natural) world. There are snow capped peaks on seemingly all sides. The forests are dense and steeped in mystery. The fish farms are impressively stocked and Romanians are so blasé about their birdlife there wasn’t one of those so-called hides in sight. That’s when I decided to play a trick on Blue. I pranked him. In fact I punk’d him.

    Blue, I said, or words to that effect. Why don’t we play a board game later? What you should know about Blue is that he loves board games almost as much as the avian world. He couldn’t resist. That evening we opened a bottle of white wine and convened over a deck of cards to play a game which Blue assured Red was simply called Mind. It was kind of fun, actually, and required vast amounts of intuition, collaboration, calculation and trust. Neither of us came out the winner because the object was to win or lose as a single team. We lost the warm up. But won our first proper game. That’s very rare, apparently, as rare as a wallcreeper! Get in! 5-4, culture was catching up with nature.

    When I tell you that the following afternoon we met an AirBnB host called Ovid, named for a Latin poet, you might already be able to guess that the next point was to level the scores for Red and Blue. Ovid, however, was not a poet; he was a judge – albeit at the tender age of 36. But he was a very welcoming judge, directing us to our summer house, bringing us local alcoholic concoctions, and re-appearing at one point with a scythe in order to cut down the long grass which, until this point, was hiding our feet and ankles from him. He also talked, mainly of his dislike for Bulgarians. We were getting along famously until he observed, with calm appreciations, “I think you two are pretty conservative guys.” “No, No,” we protested, “We voted for Corbyn”. But, sadly, it transpired that Ovid would have preferred us to be as traditional as he was, with his wife indoors tending to the many kids, while he ventured out into the world to pass judgements. He cooked, warming through polenta in a cauldron over the fire, while hacking to pieces three huge blocks of cheese which were for melting in the boiled grain. It was, as Ovid told us repeatedly, the food of Romanian shepherds. And we were sheep, he seemed to indicate, governed by the woke left wing mind blob. 5-5.

    The next day, after dreaming of visitors with scythes, we drove to Curtea de Arges. Ovid met us in town, on a break from judging, and directed us to the town’s two most notable sights. These were both places of worship, in which we could imagine him asking God to forgive us both. The first, Curtea de Arges Cathedral, had twisty columns that made the whole edifice appear unstable. The interior was coated with a tonne of gold leaf: many men with haloes gazed down on us. As paranoid as I was by now, Blue noticed Jesus, gazing down at us from the ceiling above the apse. We moved on. The second church we saw, St Nicholas, dated back to the 14th century. It too was painted wall to wall. Gregorian chanting was piped around the pillars as we both drifted around and got our fill of saints and bible stories. At one point I noticed Blue praying that his stock options would give him a maximum return on investment. Both of these Greek Orthodox were quite literally byzantine, and although I hate to hand it to Ovid, they were both sombre and wondrous. 6-5 to culture.

    Red still had some weapons-grade culture in store. For in the nearby city of Târgu Jiu, which was, after all, the final destination of this Bro Trip, were a constellation of monumental outdoor sculptures by the peerless master of simplified form, Constantin Brâncusi. After checking into our hotel (parking the mustard Peugeot right outside, like the rock stars we knew ourselves to be) we found food and then wandered through a park towards a stone table surrounded by hour-glass shaped stools. This was the Table of Silence. It was lit up like a picture postcard. I sat there briefly, observing silence. But I was admonished by a 24-hour security guard, before I could take out a picnic. We wandered on. We saw a henge-like arch. This was the Gate of the Kiss: a popular spot for wedding photos. Then walking further and further along this axis of great art, we came to Endless Column. We passed a church and a railway line which, apparently, Brancusi had asked the city to relocate in order to preserve the integrity of his commissioned plan. His column of ‘rhomboidal modules’ (I cribbed that term from Wikipedia; thank you Jimmy Wales), rose some 30m high. Circling it in a park, at night, we could imagine it piercing the canopy of stars. Revisiting the monuments by day, the next morning, Endless Column came to a somewhat more abrupt end. 7-5 to culture, I would say.

    Red was walking away with the crown, as he always does following an intense round of business deals with Blue. But then something happened. Our hotel receptionist had given us a piece of paper with a proposed itinerary for our final day. On this document was the name of a local cave: Polovragi. It must be said, we were both a little jaded. It was getting late in the week and, while money is no object for serious dealmakers, we were worried that waiting to join an expensive guided tour would be a bad deal. However, it was cheap. And the guy in the kiosk, just waved us in. We were left to explore. Spotlights revealed wonders of geology. Signage illuminated the facts behind the grotto’s numerous features. Our spelunking experience called for scrambling, ducking, traversing, and at one point I jumped off a rock, like a six year old might have done. This cave was totally amazing and I was only too happy to award Blue a further point. 7-6 to culture.

    That evening we dined and drank. The warm weather, which had helped make the trip so memorable, afforded us the chance to sit at a table outside a bar and reflect on the joys of Bromania. I had a beer. Blue had a cocktail. I had another beer. Blue asked to see the cocktail menu again. When the (young, female) waitress came back to serve us, Blue had made his decision. “I’ll have an Orgasm,” he said. She didn’t understand English too well. “Give me an Org-Asm,” he said, helpfully. She didn’t understand. “I just want an Orgasm,” Blue said, raising his voice in the time-honoured fashion of an Englishman abroad. Heads turned. In the end he had to point to the item on the menu before she understood. The misunderstanding seemed to have gone on for ever. I was, of course, laughing. I told Blue that his ‘orgasm’ experience was one of the highlights of my trip and would need to score a point in the nature/culture war. Shamefacedly, he agreed. “8-6 to culture?” he asked, with an air of defeat. No, I assured him. His quest for an orgasm, even though it arrived in the form of a snowy white drink, was PURE NATURE. Final verdict (which one day I would love to have Ovid himself ratify): 7-7 to nature and to culture. The jury is still out, as perhaps it should be. Fangs, Blue, for the memories!

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    prehistory

    The Devil’s Quoits

    April 17, 2023

    Having visited a fake cave, I was intrigued to visit a fake stone circle.

    In its early bronze age heyday, Devil’s Quoits comprised of 36 standing stones in a ring with a 79m diameter. Between the middle ages and the present all but one went missing. Today most of them have been relocated, rounded up and rounded off with 20 brand new quoits.

    There are no rock paintings, no visible engraving and, as on the overcast days we visited, merely grey stone with little to see.

    In the RPG franchise Assassin’s Creed, we come across a fantastical henge known as Devil’s Quoits.

    Thunder threatens, fragments of tribal design glow from the rock. As our avatar says upon completing a puzzle, there is a “strange energy here”.

    In search of their secrets, the Quoits have been energetically excavated several times since 1940. Many of the stones have been returned from their medieval berths and some twenty are brand new contemporary reconstructions.

    These blocks of conglomerate, unworn by age they retain an industrial pebble-dash quality which sets them apart from the remaining stones with their solid appearance and lichen coat.

    Wandering in and out of the stones, in a mode of spectatorship I had learned in art galleries and museums, I could not quite taste a full neolithic feast or hear the sound of collective percussion bounce off the surrounding ring of rock.

    I could however place my hand on the mossy stone. I imagined I could feel warmth. Perhaps even a pulse. I felt myself to be in the presence of sentience. Or at least that’s what I wanted to believe.

    I should have exercised a similar trial of faith with one of the twenty unlovely, more recent aggregations of small round stone and sandy clay.

    These too must have carried an exciting psychic charge: each one remains a vessel for the good intentions of a unified group of stakeholders from the local parish council to Oxford University.

    Our contemporary rituals comprise form filling and fund raising, aerial reconnaissance and the operation of a crane, sling and hoist. Who’s to say these energies are any less powerful than those of 4,000 years ago.

    To get here I navigated rural B-roads and defied the arrival of rain. I asked my young daughter to count the quoits. which bought me enough time to observe my fellow stone watchers. Photos were taken. Hikes were resumed.

    As a rambler like any other, I made a holiday destination of this monumental structure. But like a baffled viking avatar running back and forth I was also trying in vain to read the scene before me.

    Those new quoits, the sand-coloured replicas on all sides, appeared to insist that a stone is a stone is a stone.

    Meaning, in both cases, may reside in configuration rather than any inherent properties of the original quoits. The circle is a detail on an OS map now rather than a scene of gathering for purposes unknown.

    Devil’s Quoits can be found near Stanton Harcourt in Oxfordshire.

    Further reading:

    Devil’s Quoits on Wikipedia // Devil’s Quoits on Heritage Gateway // Devil’s Quoits on Archaeology UK

    books, Uncategorized

    Book review: White Sight, Nicholas Mirzoeff

    April 6, 2023

    Nineteenth century civic statues are so boring. Colourless, elevated, obscure, pompous, they have, for a very long time, eluded questioning. To topple one of these monuments, to go so far as to dump one into the sea, is to make the whatever bronze idol, appear to us fresh, and in disgrace. If there is such a thing as mere symbolism, this is not it. Reading White Sight by Nicholas Mirzoeff, the debasement of a statue is a noisy tear in the very fabric of society: a good thing, because the society we live in is racializing and racist on so many levels.

    After Black Lives Matter, we should no longer support the infrastructure of dull, sober, weathered, white men like Colston. Their grotesque pasts – and it’s a past shared by all westerners – are commemorated globally from South Africa to the Americas, in the UK and around Europe. When statues fall, they become visible. As they become visible, we see the involvement of their subjects in colonisation, slavery and rape. Mirzoeff likens it to a power cut; one does not see electricity but without it we are at a loss. Same with racism.

    Vision is the key element here. The statues are potent because they are largely invisible. If we can accept that objects have agency, specifically works of art, these do. They look at us. They look down on us. They embody the form of ‘white sight’ which is eponymous to this revelatory book. Mirzoeff describes white sight as the Operating System of white supremacy. The concrete and bronze network of slave traders, plantation owners, racist prime ministers legitimise a global system of discrimination in which, at the sharp end, Black people are murdered by white police.

    How has this OS come to exist? It has arisen because in the history of race relations, white people have assumed positions of surveillance: those above deck on slave ships, as overseers on plantations. White artists have ordered the world as such that it appears to funnel its contents into a static waiting eye, and the resulting authority and omniscience, assisted by the invention of perspective is not so different from that of today’s drone pilot. The area below the camera on a reaper drone, which fans out like a Florentine cityscape, is known as a kill box.

    The machinery for this lethal viewpoint was developed in the renaissance and Mirzoeff cites a subgenre of worldmaking landscape paintings in which Italian artists depict a heavily perspectival ‘ideal city’. Most notable is his reproduction of a Utopian vision by Francesco di Giorgio Martini, (c.1490 -1500). This empty colonnaded scene, in which paving leads the eye down to the waterside at Livorno, directs our attention to two distant islands: Capraia appears dead ahead as a navigational aid for ships heading to newfound lands; the other island is Gorgona, once said to be the home of the Gorgon, a mythical being of terrifying repute whose gaze would turn you into a statue. Connecting the Gorgon to Colston is a mindblowing detail.

    It is alarming to realise from the pages of this book, how deep and longstanding are the forces of colonialism. Mirzoeff has a rare ability to join dots in this way. In 2020, he was able to observe a number of the so-called Trump caravans on the streets of his neighbourhood on Long Island. He saw, ‘long lines of F-150 trucks, SUVs, and other cars taking over the roadways’. These menacing, slow moving motorcades appeared in defiance of the pandemic shutdowns and in support of the then president. In this instance the author connects several more indications of prevalent white sight: the ‘fossil-fuel intensive vehicles’, the ‘summer of climate-change driven wildfires’, and the destinations chosen (more memorials, yes, but also a Trump-endorsed pizzeria), all combine to ‘reinforce white reality’. Facts are stranger and stronger than fiction. With great acuity, Mirzoeff’s book unpicks the weave of the existing social fabric.

    White Sight ranges across many spheres of contemporary discourse, from mass extinction to modernist poetry, Islamophobia, covid masks, the Suffragettes and prehistoric archaeology. Personally I was captivated and yet devastated by his conclusions. This presumed great civilisation which I benefit from, is rotten to the core. And still the rhetoric continues. UK Home Secretary Suella Braverman’s language is nothing new. Queen Elizabeth I claimed in the late sixteenth century that the country was being overrun by “blackamoors”. Sad.

    White sight is a collective way of seeing, not a biological inevitability. My outtake from this comprehensive counter-surveillance operation, is that white sight is that mode of perception which allows humans to intrumentalise one another and the planet. Racialisation, capitalism, and the eco crisis are all one.

    Decolonising your viewpoint is a huge challenge for white people everywhere, to realise they (and I include myself) have become white over the years thanks to conditioning and self-interest. Only then will those deathly civic statues become interesting, intolerable, unmissable targets for all humanity.

    White Sight by Nicholas Mirzoeff (2023) The MIT Press, 339 pages. Available from all good bookshops.

    contemporary art

    System Interference

    September 18, 2022

    The first review of this show is scratched into the dirt on the side of a car parked outside: “This is cool”, it appears to relate to the car. I say ‘parked’. In fact the vehicle is dumped on its roof.

    It’s just a silver Toyota but, inverted, it’s become a focal point for local curiosity, eliciting comments, questions and smiles from passersby who might otherwise not notice the gallery.

    Thus, Micheál O’Connell interferes with at least one system for the new show System Interference at Uillinn West Cork Arts Centre. The passing traffic, complicated by a Yaris.

    Inside, the artist props locally-bought sewer and drainage pipes from floor to balcony wall. A cross-sectional diagram reveals how they pass beneath the street outside. Here they evoke arte povera.

    The central motif of the show is a toy wind turbine which, by some exasperated irony, runs on a finite supply of non-rechargable batteries. By some twist of magic, these are branded ‘New Leader’.

    O’Connell (aka Mocksim) proposes that full scale working wind turbines be installed on some of the world’s many golf courses. More important to save the planet than to improve your handicap.

    The miniature wind turbine’s whirr and falter amid a scattering of golf balls in a piece which the artist calls Small Wind Farm (after Ligeti), a composer inspired by mathematical process.

    There are 50 turbines and 100 golf balls. Do the maths? 100 New Leaders. But a number of the toys are already powered down and/or toppled. We don’t know where this all will end.

    However the artist is diligent in his efforts to connect some things, short circuit others and upset the golfing class. He has camped out, in a cheap tent from Lidl, on a number of Ireland’s beautiful courses.

    After pitching up on the greens, he will offer a review on Trip Advisor. QR codes invite you to jump from the gallery space into virtual spaces where O’Connell is trying to jam convention numerous ways.

    It is totally quixotic of course. It is tilting at windmills to expect that, in the twenty-first century, a critical gallery show can effect the unpredictable progress of money-flows, data-flows and entropy.

    But I will say, like the kid who made his feelings known about an unremarkable car now at a remarkable angle on the forecourt of this striking two storey space, this is cool. I like what it’s driving at.

    System Interference by Micheál O’Connell/Mocksim is viewable at Uillinn: West Cork Arts Centre, Skibbereen, Eire, until October 26 2022. Gallery website is here.

    exhibitions, the epic

    Anathemata

    October 12, 2021

    There was an obvious first question raised by this densely packed show at Mostyn: ‘What is an Anathemata?’ Notes reveal it to mean a solemn blaming from the church.

    To be met with an anathemata results in excommunication. And this show gathers three writers who were famous outsiders and a fourth known mostly to poetry insiders.

    Antonin Artaud, Sarah Kane and Pierre Guyotat have, between them, written some of the most visceral, confrontational and seditious texts in modern European literature.

    David Jones, on the other hands, a scholarly poet of Welsh origins, is easier to introduce to polite society. But like his peers Joyce and Elliot, he leaves polite society a little confused.

    These four figures are assembled as if in a museum. Vitrines contain a football strip, spell-letters burnt and scanned, and reproduction etchings that contrast the bucolic with the horrific.

    Presented in response are four contemporary artists: Martin Bladh and Karolina Urbaniak, James Richards, and Paul-Alexandre Islas. Their work appears on slideshow and monitors.

    The slides are arresting: sensuous x-rays which, by their silver veneer, look to belong to the world of early photography. Even in this present, Anathemata comes to us from the past.

    Curator Pierre-Alexandre Mateos, who put this show together with collaborative partner Charles Teyssou, tells me that the guiding principle for their rich selection was the Epic genre.

    All four historic writers conjure up epic myth – be it ancient, folkloric, or local to Wales – as a way to create a space for the sacred in the wake of the cataclysms of the twentieth century.

    In the case of playwright Sarah Kane, she evoked a myth of gods fighting for possession of the sun, embodied here, on a third monitor screen, in an archived FA cup football game.

    On this occasion in 1996, Manchester United beat Chelsea to gain possession of the sun. The epic heroes who claimed goals were Andy Cole and David Beckham.

    Beckham would receive his own anathemata after a sending off against Argentina in the 1998 World Cup. Imagine if, like Artaud, he had seen out his days an asylum.

    Anathemata is on display at Mostyn, Llandudno, until February 6 2022. See gallery website for more details.

    philosophy

    Book: After Lockdown – A Metamorphosis, by Bruno Latour

    October 1, 2021

    After Lockdown is a slim analysis of life under covid, against the ongoing backdrop of the climate emergency. Latour offers us the possibility that this experience of remote working and super spreading could all offer a lasting change in our mentalities. It could be so radical we swap our human outlook for that of a bug, more specifically the bug into which Gregor Samsa transformed in Kafka’s wildest story, Metamorphosis.

    It might not be appealing to wake up as a cockroach, but perhaps that overnight change is as defiant, in its way, as it is to wake up late and attend an online meeting in pyjamas. In Kafka’s story, Samsa’s boss sends the chief clerk to look for his employee; the roach fails to show up. His parents are at a similar loss; the roach is free to hide under the bed.

    If one cannot stomach the cockroach; perhaps we should draw inspiration from the termite. Latour notes that they live in their mounds, as we do in cities. They cannot really be thought of independently of these giant nests, which they build as they eat, encroach and excrete. We in turn may be considered connected at every turn with the human settlements we so relentlessly build and occupy. Termite and nest are one; human and human environment likewise.

    This seemed one of the book’s most important ideas: that like the termite, our entire habitat is artificial. We must therefore consider ourselves as existing with Earth, rather than on Earth, with a whole network of agents (human or otherwise) and not off them. Latour uses the word holobiont to describe the complex living systems to which each one of us plays host: with bacterial, viral, fungal guests. Likewise we form a chain of dependency with humans and animals near and far. Latour rejects the idea of discrete individuality.

    Unfortunately we live among some rampant individualists. Latour is no fan of the billionaire class and their childish obsession with space travel. It arises, he notes, from a desire to leave our wasted planet as the horizon of ecological collapse draws ever nearer. It’s a fantasy of course. But it indicates a total disregard for what might happen to the rest of us, were Musk, Bezos or Branson actually able to simply escape to a post-apocalyptic base on Mars.

    For Latour, space travel is a desperate, quasi-religious attempt to extend the shallow layer of habitable planet which humanity is currently able to occupy. This so-called critical zone, which extends from bunker to penthouse across the cities of the world, accounts for just 0.14 percent of the earth’s mass. From the point of view of a physicist, or when compared with the universe, we are as lichen to a boulder.

    Once you’ve read about this, it surely increases your feelings of roachlikeness. And once you gather that we each carry around an ecosystem with our bodies, you realise how complex this life on earth is. It’s no wonder that our politics have become enmired in contradiction; naturally, climate change is a war, but who is the opponent? After Lockdown implicates us all in an imbroglio. I came away thinking of the finitude of our space on this planet and the rapid erasure of borders by coronavirus.

    He may invoke Gaia, but Latour is no new age thinker. He endlessly complicates our position with regards to a planet full of microbes and microchips, blue whales and oil refineries. But he offers the prospect of freedom, following a lockdown that resets our engagement with the planet. If we can consign The Economy to history, we can subsist he claims, together, in new ways, and also in new places, under the sun, or better still, under the moon: that poetic body which remains, as yet, unspoilt.

    After Lockdown: A Metamorphosis is published by Polity. (c) 2021. pp.148, available from all good bookshops.

    contemporary art

    Daniel Pryde-Jarman at Sidney Nolan Trust

    September 29, 2021

    Sidney Nolan Trust is a bucolic arts centre, which nestles in a valley carved out by a glacier. Along with acres of green land, the late Australian artist’s Herefordshire estate comprises a calmly ramshackle residential home, a preserved studio overstocked with spray paint, and an outlying barn which has become a gallery to show, largely, Nolan’s work. At time of visit, the show was dedicated to prints made in response to Auschwitz.

    Daniel Pryde-Jarman, whose exhibition intervenes economically in the surrounding grounds, has responded to lesser evils. But whereas the impossibility of representing the holocaust is a commonplace observation, Pryde-Jarman does make visible a number of otherwise hidden facets of imperialism: be that American, Soviet, pre-Soviet or post-British.

    His sculptural show is characterised by a simplicity of form and a broadly shared aesthetic where stark angularity contrasts with the vernacular architecture, and where the organic finish tends to blend in. His key motif is a doorway and, if you include an opening framing his installation in the Granary, one counts almost a dozen doorways across his four works in the show. Eight of these are in a state of collapse; two lead nowhere. And to step through the empty frame in the Granary would be to find yourself in mid air.

    Most of the doors are arranged in a small field by the Centre’s car park. Their charred wood frames, empty, lean left and right and invite the eye to navigate a grassy field enclosed with barbed wire, and they offer nowhere to rest. There is an aspect of horror to the emptiness of these doors: no interior; there is no shelter from the drizzling grey skies. Picking my way across the spongy grass, I break a cobweb to step through one of these portals and wonder what my participation means; because these frames are haunted by a dark, unlikely referent.

    This work is called Flood and all seven of these openings are based on images found online which showed the aftermath of a flood at a settlement made to train soldiers at Fort Irwin in the Californian desert. These doors look like doors which look like the doors of a generic street of a town in the Middle East. Until the 2013 monsoon, US military could hone their lethal abilities storming terrorist living rooms and smoking out bedroom snipers. Here the remains of this sophisticated folly are abstracted with little or no comment. In our remote corner of the Welsh borders, where the beautiful villages seem ever tranquil, the reality of the so-called war on terror is made obliquely tangible here, as is the weirdness.

    The Granary is a small, raised barn with swept flagstone floor and solid timber rafters. The space looks newly restored, but obsolete farm machinery, mounted on the wall, wears an orange patina of age. Equally antique are the three squat monoliths, prefabricated by the artist in his Hereford studio. Two of these taper, like obelisks; the other is stepped like the Cenotaph; and all three have a rough, aged concrete finish. But tap one with a knuckle and it returns a hollow knocking sound. They represent empty plinths and all three have the potential to return to that function. In this storage place for grain, they stand dormant.

    As before, this piece has a parallel in the outside world, which Pryde-Jarman came upon, online. Google Streetview meant that he could base these plinths on proportions seen on originals in Eastern Europe, which have fallen into disuse, having been designed to support statues of Lenin. Pryde-Jarman was working with plinths prior to events in Bristol in June last year. We know now statues can be toppled, but plinths are hard to destroy. Here they offer a sense of both hope and danger that these will be restored or repurposed. The three forms, arranged at irregular angles, fill this barn with potential and tension.

    Back outside, another vacant concrete monument rises more than three metres above the Sidney Nolan apple orchard. It is rendered to look solid with a finish as stony as that of the plinths. And, as a narrow, terraced house, it encases an open doorway, with an unglazed window on the floor above. But this structure is askew, like the ghostly doors of Fort Irwin. And since the window opens onto the sky, this structure fools no one. One can pass behind the standing stone to inspect the plywood frame and admire its workmanlike artifice.

    That said, this piece puts us briefly in the slippers of Catherine the Great. She is said to have gazed from her carriage upon entire villages erected in this way, like theatre scenery, to give the false impression her subjects were living well. This elaborate subterfuge was the work of her closest advisor, friend and lover, Grigori Potemkin, who has since given his name to any device, from flashmob to state news broadcast, which portrays a happy and contented population for propaganda purposes. This piece too goes by the title Potemkin.

    Two final doorways which open onto closed space are to be found in a pair of sentry boxes stationed at the entrances to the centre and to the car park. Whereas the previous works embody ideas, and have been finished by charring, rendering, or concrete, the paintwork on the final piece is the concept itself. The sentry box is put together like a garden shed with gable roof and slats. But it is painted with interlocking, dynamic black, white and grey shapes, which draw the attention and disturb the vision. The military don’t really go in for decoration (aside from medals), so this piece of loud, bright, albeit monochrome, security infrastructure is a wry oddity.

    Dazzle camouflage, of which this is an example, was first used by ships in WWI, intended to confuse an opponent as to direction and speed. Its deployment here on a static sentry post, which no one is likely to shoot at, at a remote arts centre, rather than a working barracks is pleasantly baffling. One also wonders about the structure, why do sentries require boxes? With their benches, near redundant, inside, these two guardhouses are dwellings so small as to be pointless. This is toy-like architecture that lampoons its occupant.

    This keen sense of the ridiculous reverberates strongly: from the vainglory of 18th century Russia through to the 21st century war games of the most powerful army on earth. In a world gone proverbially mad, these extreme follies – Arab villages in the Mojave desert; temporary towns in the Crimea; the wholesale decommissioning of plinths; self-conscious sentries – well belong. But their appearance here at Sidney Nolan, where the pace is slow and the setting idyllic, makes visible a threat to all.

    It brings to mind of Poussin’s classically classical painting, Et in Arcadia Ego. So reads a stone inscription, on a tomb, found by some shepherds: ‘death is in Arcadia too’. Pryde-Jarman delivers a similar warning, but with a light touch in keeping with our absurd times.

    Daniel Pryde-Jarman was exhibiting at Sidney Nolan Trust, Presteigne, Herefordshire: May-September 2021.

    art history

    Book: The White Birch: A Russian Reflection, by Tom Jeffreys

    September 27, 2021

    Somewhere between nature writing, cultural history and travel writing sits Tom Jeffreys’ companionable guide to Russia, The White Birch.

    His point of departure is a single species of tree. There are white birches in palatial gardens, botanical gardens, and protected forest; in nineteenth century landscape paintings, realist novels, dissident poetry and contemporary artworks. It emerges as a very Russian tree, but the Ukraine and the Nordic lands also lay claim to it. This ramble across time and space in a distant land frequently finds itself in political territory.

    The birch is a symbol of national identity, in a nation where so many millions died to protect the land from Nazi invasion. The narrative in which Communism defeated Fascism may offer hope. But Jeffreys disturbs this by recalling Stalin’s non-aggression pact with Hitler, Russia’s landgrabbing behaviour in the subsequent months, and labour camps in Siberia so vast and distant they didn’t even require barbed wire fences. A virulent anti-semitic strain to Russian cultural life in the previous century is also shocking.

    So the patriotic birch is never neutral, at least its ownership remains in question. In 2011 Russians came together to defy government plans for a motorway to slice through Khimki birch forest outside Moscow. Protestors met with the police and at times the secret police. Leading voice for the resistance, journalist Mikhail Beketov, was particularly unfortunate; his dog was killed, his car was torched, and he was left with brain damage after a physical attack. These injuries finally killed him in 2013.

    The author of this book is aware of the dangers of controversial opinions here; his travel adventures are tinged with paranoia. Near Krasnoyarsk, he gets anxious about the publication of his most recent art story, which describes a gallery visit against the backdrop of the Moscow mayoral elections. Bad dreams haunt his train ride. On Russky Island he totally loses his bearings, and wanders into equally spooky territory, and a feeling he does not belong. “I am not a brave person,” he claims, although he is brave enough to travel Russia and publish books.

    But Jeffreys is a self-deprecating wit. In the Russian Forest Museum, Moscow he points out a hedgehog in a painting, and tries to impress a sombre curator by suddenly recalling the word “Yeshik!”, which is Russian for this creature. He says of an oft painted estate north of Moscow: “Abramtsevo feels sometimes like a place built for children – or even by children.” And he notes the “comic villainy” of another dog owner, who watches his pet chase a cat, while calmly peeling an apple with a knife.

    He may not be fully fluent in Russian, but the author’s greatest strengths are observational. These pages abound with close descriptions of the Russian countryside, which chime with descriptions of nineteenth century landscape paintings. He cites a wonderful description of Ivan Shishkin, a realist painter so detailed he was called ‘the accountant of leaves’. And when Jeffreys encounters the Russian public’s favourite painting, The Rooks Have Returned, by Alexei Savrasov, he notes, a bit snippily, the poor behaviour of foreign tour parties in the Tretyakov Museum. One guide not only touches the art, she rubs the painted canvas to illustrate her spiel.

    But in 1986 the Russian countryside changed, invisibly, forever, and Jeffreys’ descriptions of the flora and fauna come up against their limit when he visits Chernobyl. The explosion of a nuclear reactor, which shook the world, has been said to have led directly to Glasnost, then Perestroika, to the collapse of the Soviet Union, to the current mood of Russian nationalism. Visiting the site at the time, a newspaper editor reported a sensation of tingling on his face and a metallic taste in the mouth. Ants and bees were reported as retreating to their nests.

    On his excursion to Chernobyl and visits to gardens like those at Gatchina Palace, Jeffreys is among tourists and this gives him pause. His book culminates with a very fun-sounding trip on the Trans-Siberian express. In places, Jeffreys seems aware he could stray into a tourist role. He is most at home talking about art and literature, yet this book takes several detours around history, international relations, architecture and folklore.

    The White Birch may be an ostensible study of a single species of tree. But as shown, it’s a lot more ambitious. Jeffreys positions himself as an obsessive slavophile and a blundering botanist, rather than a world authority on Russia. Who could be such a thing!? As a result one is very happy to enjoy this self-reflexive journey, some most erudite travel writing about a most fascinating land.

    The White Birch: A Russian Reflection is published by Corsair, pp. 337, ©2021. Available from the Portobello Bookshop among others.