Not So Long Now

This year, for the first time since 2004, I didn't blog the Greenbelt festival (of faith, art, music, activism, food and stuff in general) for Surefish. Those of you who've been paying attention may be able to guess one reason, which is that Surefish haven't actually been paying for new content since a while ago now. The other is, of course, young master R., who rather restricted our attendance this year.

Nonetheless, we did manage to get from Bristol to Cheltenham for day trips on Saturday and Monday. At three weeks old R. remains something of an impediment, of course, and the one alternative worship session we managed to get to consisted largely of a breast-feeding, nappy-changing and baby-quietening marathon.

Still, we managed to attend and pay attention to a number of the events as well as generally appreciating the atmosphere.

This year's festival theme was "Standing in the Long Now", about which I was rather enthusiastic -- the long-term futurological thinking of these people being something I feel the world in general could do with very much more of. Sadly, aside some rather nice theming in the aforementioned worship session (which, of course, we hardly got the chance to see), the only evidence of the festival organisers drawing inspiration from this source was the slogan "Now is all we have" on a T-shirt (see illustration above).

A panel discussion on whether Doctor Who and its ilk should be frightening children (for both moral and aesthetic values of "should") benefitted hugely from the erudition of its panel, who included two Doctor Who authors and a vicar who used to draw Judge Dredd.

Kester Brewin's two talks on, respectively, "A Plea for Christian Piracy" and how physics might inform faith, were highly entertaining idea-play: the former reinterpreting 18th-century freebooters as revolutionary proto-anarchists, and the latter ranging through higher-dimensional spaces as an analogy for divine revelation and the many-world hypothesis as a justification for heaven, hell and immortality.

(Mind you, my question at the latter, about the alternative lives of Jesus and how they might knock the crucifixion from its central place in atonement theology, seemed to throw him rather. I might see if I can talk about something along those lines next year -- fortuitously themed "The Art of Looking Sideways" -- if a) I get time and b) they let me.)

Brewin also pointed out that "atom" and "individual" have the same root meaning, which had somehow never occurred to me before.

Aside from sessions with various friends at the Moroccan Pizza Tent, the Tiny Tea Tent, Nuts Wholefood Cafe and the Jesus' Arms pub tent (the last being a godawful letdown after the past two years, due to a change of franchisee -- we must give the organisers some feedback on that), the only other organised event we attended was a promotional gig by Jasper Fforde. Sadly, Fforde's overly high estimation of his own cleverness comes through in person as strongly as in his books, so we went away from that slightly irritated.

As ever, I appreciated the visual art as much as any of the talks, and was particularly impressed by these photos. I'd have liked to have seen more of these paintings as well, but unfortunately there was a guided tour in the way when we managed to make it there. Those we saw were great, though. We also managed to pick up a limited edition print of a rather incomprehensible artwork by Billy Childish.

Our partial attendance meant that we missed, among others, Robert Beckford, Michael Ward, Pete Rollins, Alister McGrath, Iain Sinclair and Gene Robinson, as well as any of the christian-muslim dialogue events (which the organisers depressingly felt the need to justify to their christian attendees in the programme). Any or all of these might also have been splendid, but circumstances weren't really on our side.

We had a fantastic time anyway, brief though it was, and look forward to managing longer next year.

A Quantum More

Just a quick update to say that photos of A Quantum of Sol (Rising Sun), B.'s sculpture with words by me, are now available at the web page. Enjoy.

A Quantum of Sol

Those of you intrigued by the first and last items in that previous post may be interested in this, the first publication of the full text painted on m'wife's sculpture A Quantum of Sol (Rising Sun). See here for some photographs of the structure (more detailed ones will hopefully come later) accompanying some reflections on the text.

I've broken the passages apart here for the sake of basic legibility: on the sculpture itself they run into one another, with only the solar symbol to separate them.

A Quantum of Sol (Rising Sun)
– text-only version

...shall all ascend into the bright eternal apex of the enlightened and unconquered soul

the blinding helial light of conversion, h to he, exploding into a new clear sight, indiscriminate radiance corrupted by our polarising vision, everpresent effulgent distancy

sole potent parent to mother material, father to daughter spun also from that archane disc, the golden aten split into lead, ice, carbon, mercury, earth the filial and fecund, oval in her orbit, plump to receive the lightwarm seedflash of her father husband brother sun

lord of hours meting and mensurating dawndusk noonnight, nadir zenith, solstice equinox, years sidereal and cosmic, circling the milkblack core, spinning like a parasol while whirling aeroplanetary children, endlessly calendrical, infinitely stonehengible lord horus (lord graciously horus)

bright daybarge sailing the skyward ocean to the blue meridian, making its waves a tidal delta, cyclical waveform mounting in morn, declining in dusk, then passing into neutral harbour-mouth to weather the dark night of the soul

nightbarge setsailing for the netherworld, setting tonight to set-to with the night setspearing turtlesnake apep talk re your communication with the dead of twelvehoured chaos, anticipating your response by return, alimentary canal turned now to re birth

barging in, bursting from the skirts of night to rise with dayheat each dawn since the fourth to measure morning with the mercury

re treating winterly to arctic valley, re turning aestivally to easter vernal spring, an immillennial parousia of recirculation, re birth re curing with cyclic solemnity, in days, in years, in minutes of untimely dark devouring

son of mandala spread on cross, haloed by circle, spun on sunwheel in ecliptic pain, abandoned to mandated exocclusion, three hours dying, veiling and unveiling in the vale of the shade of the death of the son

dying into darkness (amon), graved in underworld (amun), doing nothing by thirds but arising on the first day (amen) a speedy mourning then an easterly ascent into heaven (ra ra ra!)

goldnaturedly doling out the wisdom luck and cancer, sole leonine pharaoh of the fifth house, mane sequence helionhearted millionmile yellowgold dwarf, far distanter than icarus may fly, winged eye melting featherwax and numbing nerve

feeding all, filling all, fuelling all, sustaining all, yet one day mere trillennia hence devouring all, re absorbing all earth’s sunstuff, if never first devoured by dragon monkey wolf serpent or blackholy goddess of galactic night

food of algae, idol of flowers, boss of roosters, sauna of lizards, lamp of lovers, garment of nudists, blight of deserts, torment of vampires, scourge of snowmen, wellspring of moonlight, yoke of oceans, pivot of planets, wheel of seasons, father of pharaoh, aim of archer, mango of monkey, spoil of scarab, dinner of direwolf, eye of heaven, light of vision and vision of light, seen now through dark glasses but one day eye to eye, unblinkingly unblinding

for this light of the world, epitome of glory, sun of heaven blazing with conversion light, the monad, carrion kissing, darkness lightening, nightperil delivering and all sustaining, is a mere lamp to light the way

a type, a symbol, font of wisdom, all seeing icon, sign to lead us, cycling now but soon to dismount, to the axle of all, samsaran wheels halting near vantage point to view the bright empyrion

circling sun and earth, comet and cluster, light and dark matter, stars and humanity, a joy to end soul enmity, the love that moves the son

and day is grey now, light is night now, fire is liar now, shown unknown now yet when dawn comes...


© P. and B. Purser-Hallard 2008

Lifting the Curse

I finally sent off my vampire story today, and I'm bloody exhausted. Now I just have to wait to find out whether Eddie the Editor likes it, and how much he minds that it's a third as long again as it should be.

This has been one of many things which I haven't, what with one thing and another, had the time to mention recently... but tomorrow I'm off to the Greenbelt Festival in Cheltenham. B.'s been there for several days already, building a sculpture to which I contributed a chunk of text (the thing with the puns on Egyptian gods' names which I was mentioning earlier).

I'm not speaking this year, having once again failed to get organised. I'm also camping for the whole weekend, for the first time since... erm, I think it might be 1992. With good reason, because I loathe tents and everything that goes with, in on and around them. Especially the mud.

I will, however, be blogging for Surefish, as has by now become traditional. As in previous years, I'll post links to my Surefish entries here. (All of those links are broken now, such being the transitory nature of internet journalism. I don't know whether the entries themselves are still floating around the web somewhere.)

If you're very lucky, there may also be some photos of the sculpture.

Brainchildren

I've started the final push towards a finished version of "Nursery Politics", and thus of Nobody's Children. The whole process of writing this latest novella has been surprisingly gruelling -- I'm not really sure why, but I'm sure you'll have noticed me complaining about the fact.

It'll be over soon, though, and there's potentially good news about another project afterwards (not that I'm ready to think about that as yet).

While I've been doing this, B. has been finishing off and displaying her latest piece of art: Vesica Piscis, part of an Easter art exhibition run by a local church. It looks like this.



More photos are visible here... and for what a vesica piscis actually is, see here.

Höllering

Brief update today, to catch up on a busy weekend and a busier week.

After getting a few hundred whole words of my novella written during the last couple of days of last week, I disappeared to London with B. for Saturday and Sunday, to visit relatives (or in my case in-laws), attend a birthday party and appreciate the art at the Tate Modern.

After a pleasant lunch with B.'s granny, most of Saturday afternoon was wasted in dithering. The London "hotel" we'd booked online -- which had looked cheap and basic, but perfectly serviceable, in pixel form -- turned out to be a godawful dive of a pub on a rubbish-strewn sink estate, and not at all the sort of place where we'd have been happy walking, or even leaving a taxi, late at night. After much agonising over the possibilities, we eventually settled for the inconvenience (to her and us) of sleeping on B.'s sister's sofa instead. (It was kind and rather heroic of said sister to take us in, considering that she was already putting up her boyfriend and the aforementioned granny, and that her house isn't exactly vast.)

That decision made, we managed to enjoy ourselves on Carsten Höller's masterwork, which was appropriately spectacular and boundary-breaking, but may or may not count as actual art. I can't yet decide whether my considered response is:

Höller's Test Site is a fascinating and vivid demonstration of the tendency of a limited loss of stability and control over one's environment to evoke the most visceral human emotional responses, and a witty and profound exploration of the boundaries between architecture, psychology and child's play.

or:

I liked the Level Four slide best because of the steep bits which were scary! But the Level Five slide was best too because you get to go very very fast! WHEEEEEEEE!

We then proceeded to the party, which was great -- plenty of beer and interesting conversation, lots of hardcore dance music (which our hosts, at our drunken insistence, very patiently and painstakingly explained to us), three lovely velvety rats (pet ones who were meant to be there, rather than the less convivial kind we'd have been likely to find near our "hotel"), and several equally lovely velvety single malt whiskies. Mm.

The next morning I was feeling rather delicate, but was soon revived by brunch with other friends, somewhere in Clapham. At least, I think it was Clapham. I was too hungry to notice really. Then we drove back to Bristol in the afternoon, ate too much supper (possibly to line our stomachs retrospectively for the night before), and went to bed.

Since then I've been back at work, wading through acronyms until (as I discovered when trying to read a safety notice on the train home today) I genuinely can't see words printed in capitals without wondering what all the letters stand for.

Oh, and watching the first three episodes of Season Three of Battlestar Galactica, which is ace. More on that anon.

Art Works

Speaking of Collected Works, as I just was, the cover has now been released, and can be viewed either here or at the Big Finish site.

(In the absence of Adrian Salmon, Big Finish's regular cover artist for the Bernice Summerfield books, it's been painted by Doctor Who comics artist Lee Sullivan. In general I rather prefer Salmon's heavily stylised artwork, as seen on A Life Worth Living amongst others, but Sullivan's seems better suited to the books' new all-white look. Hmm.)

There's still been no announcement of the story titles and full list of authors (the nine of us who've been listed so far are only half of the names you'll see on the contents page), which means I still can't put up my lovingly-prepared teaser text for my stories. When I can make that public, though, I'll point to it from here.

Holyday

You may be able to tell from the unaccustomed air of piety and / or sacrilege about that last post that it's very nearly time for this year's Greenbelt Festival. I'm due to be training up to Cheltenham or environs on Thursday, and coming back on Tuesday -- having detoured briefly via Staffordshire for the Bank Holiday Monday wedding of a dearly loved, but more than slightly inconvenient, friend. B.'s already at Cheltenham Racecourse, building a seventeen-foot-tall sculpture out of dustbins and chains.

For this reason I probably won't be updating Peculiar Times until lateish next week, except to link to my festival blog for Surefish. (If you're bored, you could always entertain yourself by reading last year's.) Entries should be going up on Surefish's Greenbelt pages on Saturday and Sunday.

As usual I'm looking forward hugely to the festival. As something of a floating worshipper, generally far too liberal / radical / heretical to fit comfortably into any of the traditional churches, I've found over the past few years that it's become my church community. It's a shame I can only be there for two-and-a-half days this year -- and, of course, that I have to spend some of that time working for cash -- but I'll be making the most of it nonetheless.

Manchester

So at the end of half term B. and I went to Manchester for a three-day weekend, having settled on it as a city we hadn't visited before (or for about fifteen years, in my case) which looked as if it would bear exploration.

This turned out to be an excellent choice. The sunshine helped of course, but the city is gorgeous -- lots of old (mostly Victorian, but some older) architecture mixed in with really interesting modern stuff:








































The vast glass pylon at the top there is apparently the tallest residential block in the U.K. Or possibly Europe. I forget.

OK, so there are presumably grotty bits of Manchester as well, but fortunately as tourists we weren't required to visit those. It's just a shame our (cheap) camera is quite so rubbish at colours when there's bright sunlight. Also that I can't take a straightforward photo without sticking my idiotic finger in the way.

But the city was great in so many ways -- frequent free buses, a tram service (no photos of the trams, but I think my friend Patsy may have been involved in designing them, unless I'm thinking of Sheffield), lots of open green areas and trees and exciting bits of waterway just lying about the place. Also a gigantic BBC-sponsored TV screen opposite the major shopping centre.

Our hotel was located close to Castlefield, a district which counts as an urban heritage park in its own right, and more excitingly featured in several episodes of Queer as Folk. It also contains the Industrial Museum, where we learned the fantastic fact that Manchester used to have a network of pipes which delivered high-pressure steam around the city for purposes of hydraulic power. Apparently they're now used for fibre-optic cable networking. We also got accidentally locked inside the Power Hall at closing time on the Friday, which was less diverting.

Most of Friday we spent exploring the city, scouting out interesting locations and sampling therather disappointing Samuel Smith's beer at Sinclair's Oyster Bar. Oh, and briefly meeting up with B.'s aunt, who was inexplicably in town at the time.

For a great deal of Saturday we were at the city Art Gallery, famous for its Pre-Raphaelites but also playing host to an exhibition of artwork from the Miffy books. Then some more wandering around before going out to a stunningly posh restaurant where we were served with gorgeous food (the sweet potato chips were particularly to die for) and some startlingly expensive wine. Which was wonderful, even though I had to curtail my sampling of the cheeseboard to head off to...

...a very peculiar piece of open-air "industrial theatre" called Insect, which involved gigantic animated sculptures of insects, men dressed as ants, crickets and what may have been dung-beetles, copious fireworks and a great big crane. This review gives rather more detail of the story than was apparent to those of us in the audience at the time -- and these photos show rather more of the action than B. and I could actually see. But it was thoroughly spectacular nevertheless.

Sunday was unusually packed, involving a visit to the cathedral (which was rather surprisingly hosting a display of morris men and owls) and to Urbis, the museum of city living which we found entirely fascinating. (B. in particular remained fascinated by the exhibition of design and advertising long after I wasn't, but fortunately there was lots to do elsewhere.) The building showcases modern urban architecture with its exciting funicular elevator and is full of almost indefinitely interactive displays and exhibits. Highly recommended to anyone with an interest in the subject.

Having discharged our intellectual duties, we placated our inner hedonists with a pub crawl, visiting a handful of the pubs recommended in the 2006 Good Beer Guide:

1. The Marble Arch, which we wanted to visit mainly because of its in-house vegan microbrewery. Its products we found very good, especially the Lagonda I.P.A., but rather too similar to one another to sustain our interest. Although they weren't doing the chocolate one, and we didn't dare risk the ginger.

2. The Salisbury -- not recommended by the Guide, but standing in for The Font, which at 7 in the evening we found to be: a) playing louder music than we could comfortably coexist with, and b) nevertheless closed. The Salisbury was a Goth pub (I've no idea why I seem to be gravitating to those recently), but made up for it with Deuchars I.P.A.

3. Peveril of the Peak, a pub which apparently inherited its peculiar name from an old coaching-run.












Apart from the quality, this photo doesn't do justice to the weirdness of finding the Peveril's authentically garish tile facade marooned in its tiny island of antiquity surrounded by office blocks. The interior was equally tiled and enjoyably twee; the atmosphere was friendly, if quiet; the beer was OK, but would have been more exciting if we hadn't already visited the Marble Arch, who had provided the guest ales.

4. The Knott Bar, our favourite of the ones we visited. Architecturally exciting, being located in a reclaimed railway arch, with delicious food, splendid beer and a very convivial atmosphere (except for a half hour when for some reason a bunch of wankers arrived, shouted obnoxiously then buggered off). I have to confess I'm not entirely sure what we drank here, but it was nice. I have a vague memory of the sunset over Stonehenge, but I think that was probably just the tap badge.

5. The Briton's Protection, which because of the extreme niceness of the Knott we only reached when we were already quite tired. The series of small bars were pleasantly cosy, but we found the barman offputting and unhelpful, and the beer so-so. After our first, we went home to bed instead.

Monday morning we came back to Bristol. It's particularly important, when staying at a hotel, to fill up on the breakfast for which you'll be paying anyway -- if necessary to the extent that you don't feel the need for lunch. Vegetarians in particular need to ensure that they get a fair share of the eggs, mushrooms, hash browns, waffles, pastries, toast, marmalade, honey, youghurt and juice as well as the cereal, so as not to end up subsidising the bacon, sausage, black pudding and kipper consumption of the other guests.

For this reason -- and the brace of pizzas on Friday, and the expensive meal out on Saturday night, and the beer complemented with regular helpings of chips on Sunday -- I did appear when I returned from Manchester to have put on half a stone. But God, it was worth it.

I Slam a Phobia

(I Slam, You Slam, We All Slam for Islam)

It's hardly a new observation, but I find these days that I have altogether more in common with liberal atheists, agnostics and members of other faiths than I have with hardline members of what's nominally my own religion. Certainly the organisation known as "Christian Voice" -- spuriously, since it appears to be a platform solely for the unpalatable views of one Stephen Green -- made me furious with its denunciation of Jerry Springer: The Opera.

It wasn't that JS:TO was necessarily any good (I haven't seen it, but opinions I read ranged roughly from "brilliant and inspired" to "inane drivel"), or that it wasn't offensive (again, not having seen it I can't comment, although it sounds as if some of the material would have been difficult to stomach even for an heretical christian like me) -- it's the idea of someone having the arrogance and gall to object to its existence on the grounds that they personally found it made them uncomfortable.

It's a work of fiction! It can't hurt you! Even if the author has different beliefs from yours, even if it makes jokes about your faith, even if it personally insults you, your God, your mother and your dog, IT CAN'T POSSIBLY DO ANYONE ANY HARM!

...I wanted to say.

Jesus himself was mocked, bodily humiliated and tortured to death for speaking his beliefs. Christianity seems to have survived that incident, and indeed could arguably be seen to have done rather well out of it. Is it really incumbent upon us, two thousand years later, to protect Jesus from verbal insults, to the extent of attempting to silence the beliefs of others?

(That was a rhetorical question, the answer to which is: "Of course it bloody isn't. Jesus Christ!")

All of which (apart from the Jesus-specific stuff, obviously) pretty much sums up my response to what the media assures us has been the "Islamic world"'s reaction to the cartoons of Muhammad published in a Danish newspaper. They're just funny drawings, people. They can't do you any harm, and unless you're actually Danish you would (originally) have had to go to considerable lengths just to find and be offended by them. The idea that the Danish government should override the right to free speech enshrined in its law and punish the cartoonists or the editors, in order to satisfy the calls for retribution emanating from people living for the most part thousands of miles away, is so wrong as to be grotesque.

There seems to be a conflation of two separate but linked issues. One is the fact of the newspaper printing images of Muhammad, which are forbidden in Islam; the other is the fact that some of the cartoons the newspaper chose are offensive, in a satirical sort of way, to Islam itself. To anyone other than a fairly fanatical Muslim, the first issue is pretty clearly a non-starter: non-Muslims in a non-Islamic country can hardly be expected to follow a moral code in which they have no interest whatosever. It's as absurd as the attempts of the religious right in the U.S. to impose christian values upon its secular population, except that there isn't even the justification that Denmark is historically an Islamic country.

The second point -- essentially, that freedom of speech brings with it a responsibility not to say gratuitously offensive things about other people's cherished beliefs -- is on the face of it a more reasonable proposition, and it's here that most of the more sympathetic Western commentators are focussing their attention.

As I've already suggested, I do understand what it's like to have one's beliefs insulted by other people for fun, although I haven't really felt it very strongly since I was about sixteen. (Watching The Life of Brian pretty much shook me out of it, to be honest.) Christians living in modern secular Britain have to develop a thick skin about the public representation of their faith, and rightly so. Our beliefs thrive through challenge: if they're worth anything at all, opposition will strengthen them, and that's no less true of opposition through mockery and satire, painful though it is to be on the receiving end of the same.

Some of the Jyllands-Posten cartoons are offensive, puerile and petty. I would feel hurt by them, were I someone who held Muhammad as a figure of reverence[*]. However, the gulf between "feeling hurt by something" and "calling for retribution to be visited upon the perpetrators of something" is one which would, I think, bear some degree of exploration.

If I seem to be suggesting that the Muslims who feel offended by these cartoons need to grow up and get the hell over it, then I'm afraid that that seems to me to be not a million miles from the truth.

Holding onto a religion -- any religion -- in the modern world means accepting that the vast majority of the population will disagree with you in principle, and differ from you (often radically) in practice. In prior centuries, individual societies may have been able to get along -- not usually very admirably -- as monocultures, suppressing the dissidents within their boundaries and having as little as possible to do with the infidels outside. The history of the twentieth century has ruled out this kind of isolationism forever.

It's almost too obvious an observation to actually make, but any philosophical system -- be it Christianity, Islam, communism, capitalism, anarchy or Flying Spaghetti Monsterism -- could be a utopia, provided everybody freely assented to it. The moment it imposes itself upon someone who doesn't, it becomes a tyranny.

It's equally obvious that no system is ever going to win over the souls of every human being on the planet. Although certain belief-systems have a built-in assumption that they can, whether the mechanism be the Second Coming or the triumph of the proletariat, the real problem comes with the assumption that any dissenting voice can safely be dismissed as that of a damned heretic, a victim of false consciousness, or (in extreme cases) the Devil himself.

This means, unfortunately, that contemporary Islam can only do one of three things:

1. Take over the world, suppressing dissent wherever it finds it and becoming the first global theocracy (assuming the Americans don't get there first). [NB: This would not be a good idea.]
3. Reform itself, abandon many of its proscriptions and absolutes and become a strong, liberal voice speaking up for basic human and spiritual values. (I'm convinced that this will happen, but hardly in my lifetime.)
3. Adapt to the contemporary pluralist global environment in the way that other belief-systems have had to, and stop throwing tantrums because other cultures refuse to play their games the way it wants to play them.

That last one is, I'm afraid, the only realistic option in the medium term. The more Muslims worldwide who come to realise this, the more congenial the twenty-first century will be for everybody.

And just in case it isn't obvious, all this goes for bloody Stephen Green as well.


[*] I confess that I have certain difficulties with the figure of Muhammad himself, as perhaps the most problematic of the founders of major world religions. Heaven knows Jesus' celibacy (as far as his recorded life-story goes) has caused christianity some difficulties down the centuries, and his pacifism is generally brushed under the carpet -- but at least he never led an army of conquest, and nobody has ever claimed that he married a nine-year-old. Still, I'm willing to accept that my mental image of Muhammad is very likely no more accurate than those presented in the Jyllands-Posten.