Linguistic Rights: An interview with Carles Torner

This Declaration considers as a language community any human society established historically in a particular territorial space, whether this space be recognized or not, which identifies itself as a people and has developed a common language as a natural means of communication and cultural cohesion among its members.

Rights wordsArticle 1 of the Universal Declaration of Linguistic Rights (1996), the first sentence of which appears above, lays the foundation for its central and most contentious claim: language communities, not just individuals, have rights.

Once this was agreed by all the parties involved in the drafting process, Carles Torner notes in this interview, ‘then everything fell into place’, but, equally, ‘we all knew that by acknowledging collective rights…we were condemning the Declaration‘, ensuring it would be unacceptable to many state authorities and almost impossible to make a text of international law.

This may be frustrating, Torner adds, but, given the inspiration it continues to afford marginalized communities around the world, the Declaration remains not just a landmark document in the history of human rights but a ‘utopian vision into what could be international law’. After all, ‘the issue is not whether or not you reach a utopia. It is all about the process, the pilgrimage you are making toward articulating it.’

Carles Torner, a leading Catalan writer and human rights activist, is currently Executive Director of PEN International. In this extended interview, which addresses a number of themes central to this site and the associated book, he discusses what it is to be a poet and an activist, the background to his involvement with organisations like PEN and UNESCO, the part he played in the formulation of the Universal Declaration in the 1990s, and the role he continues to play in its future. You can read the full interview here. It was conducted as part of the Writers and Free Expression project.

Linguistic Rights cover

Rights Commitee 1

Rights Committee 2

‘Camille de Toledo’s’ turbulent u-topos

Dans L’Inquiétude d’être au monde (2010), Camille de Toledo écrit:

A nowhere land, une terre sans mot,
sans doute pas même une terre.
Un non-lieu que je nomme u-topos,
où nous pourrions bien apprendre
à penser ; non pas dans la langue de l’autre,
mais dans l’entre, là où nous sommes également muets,
traversés par le même effroi.
Là, justement, où nous devons apprendre à vivre,
dans l’inquiétude de toute chose.

(French)

In antwoord skryf Catherine du Toit:

A nowhere land, ’n aarde sonder woorde,
sonder twyfel nie eens ’n aarde nie.
’n Geenplek wat ek u-topos noem,
waar ons miskien kan leer dink;
nie in die taal van ’n ander nie
maar in die tussen, daar waar ons almal ewe stom is,
met dieselfde vrees deurtrek.
Juis dáár, waar ons moet leer lewe,
in die onrustigheid van alles wat is.

(Afrikaans)

In answer Peter McDonald writes:

Une terre de nulle part, a land without words,
probably not even a land.
A non-place that I call u-topos,
where we might learn
to think; not in the language of the other,
but in between, where we are all equally mute,
gripped by the same fear.
There, exactly, where we must learn to live,
amid the turbulence of all things.

(English)

Darauf erwiderten Tom Kuhn und Margit Dirscherl:

A nowhere land, ein Land ohne Wort
gewiss nicht einmal ein Land.
Ein Nirgendwo, das ich u-topos nenne,
wo wir wohl lernen könnten
zu denken; nicht in der Sprache des Anderen
sondern im Dazwischen, wo wir unterschiedslos stumm sind
ergriffen von derselben Furcht.
Genau dort, wo wir zu leben lernen müssen
inmitten der Unrast aller Dinge.

(German)

:رنا عيسى ترد

بلاد اللامحال
بلاد بلا مفردات
ربما لم تكن بلاد أصلا.
أسميه اللامكان
هناك بإمكاننا أن نتعلم
أن نفكر، ليس في لسان الآخر
ولكن بين الألسن
حيث نخرس جميعا
يجتازنا نفس الخوف
بالظبط هناك علينا
أن نتعلم كيف نحيا
في قلق كل شيء

(Arabic)

Mar freagra, scríobh Bernard O’Donoghue:

A nowhere land, tír gan briathar:
gan amhras ní tír in aon chor é.
Neamh-áit a ainmníonn mé u-topos,
inar tuigfimid I gceart
cad is smaoineamh ann: ná I teanga eachtrannach
ach sa lár, ina bhfuilfimid uile balbh,
traochta leis an eagla céanna.
Ansin, cruinn san áit inar bheibh orainn tuiscint
cad is cónaí dúinn sa bhuairt rud go léir.

(Gaelic)

जवाब में Arvind Krishna Mehrotra / Sara Rai लिखते हैं :

अ-जगह, एक शब्दहीन देश,
शायद देश भी नहीं।
एक अ-स्थान जिसे मैं कहता हूँ u-topos,
जहाँ हम सीख सकते हैं
सोचना; किसी अन्य की भाषा में नहीं,
मगर उस बीच की जगह में,
जहाँ हम सभी एक जैसे मूक हैं,
एक समान डर की गिरफ़्त में।
वहीं, बस वहीं हमें जीना सीखना है
उन तमाम बेचैनियों के दरमियान।

(Hindi)

 

UHleze Kunju uphendula athi:

Umhlaba ongekhoyo, umhlaba ongenamazwi,
mhlawumbi ayisingomhlaba.
Indawo engekhoyo endiyibiza i-topos,
apho singafunda khona
sicinge, hayi ngolwimi lomnye,
kodwa embindini, apho sonke sizizimuma,
sigutyungelwe luloyiko.
Apho kanye, sifunde ukuphila,
kweso siphithiphithi sezinto zonke.

(isiXhosa)

 

Som svar skriver Tore Rem:

A nowhere land, et land uten ord,
kanskje ikke engang et land.
Et ikke-sted jeg kaller u-topos,
hvor vi kan lære
å tenke; ikke i den andres språk,
men et sted imellom, hvor vi alle er like stumme,
grepet av den samme frykten.
Der, akkurat, hvor vi må lære å leve,
midt i alle tings uro.

(Norwegian)

 

回应中,项飙写道:

A nowhere land, 一个无言之地,
也许它甚至不是一个地方。
一个我叫u-topos 的非地之地,
在那里我们或许可以学会
思考;不是用对方的语言,
而是在语言之间思考,当我们同样的无言无语,
裹在同样的恐惧中。
在那里,正是在那里,我们必须学会生存,
在万物失序间。

(Mandarin)

 

En respuesta Xon De Ros escribe

Em nenhum lugar, un espacio sin palabras,
quizás ni siquiera un espacio.
Un no-lugar al que llamo u-topos,
donde se podría aprender
a pensar; no en la lengua del otro,
sino entremedio, donde todos guardamos silencio,
dominados por el mismo temor.
Es ahí, precisamente, donde se ha de aprender a vivir,
en el desasosiego de todas las cosas.

(Spanish)

With thanks to Catherine du Toit, Tom Kuhn, Margit Dirscherl, Rana Issa, Bernard O’Donoghue, Arvind Krishna Mehrotra, Sara Rai, Hleze Kunju, Tore Rem, Biao Xiang and Xon De Ros.

Further contributions to this translation archive welcome.

African Connections: Dhlomo cites Tagore

the country and the town, the old and the new, the exotic and the indigenous, jostle and kiss.

1. This was how Herbert Dhlomo, a leading South African writer of the 1940s, described the city of Durban in an editorial for the bilingual (isiZulu/English) Ilanga Lase Natal (‘Natal Sun’) on 23 April 1949. ‘Even its racial (and, therefore, cultural) composition is unique, perhaps—African, Asiatic, Coloured, European’, he continued, adding ‘it is also a busy port—even a boiling pot!’ The ‘boiling’ he had in mind included protests by the Industrial and Commercial Union in the late 1920s, then the country’s largest worker organisation, the Indian passive resistance campaign, one of the first mass movements against white rule, which ran from 1946 to 1948, and the communal conflicts between Indians and Africans in Durban that came to a head in January 1949. Still shocked by the ferocity of the latter, he then asked: ‘who knows if these & others were not Fate-fanned fires to produce in a different mould newer & finer racial & cultural God-wrought ingots?’ Taken together, he concluded, the port city’s cultural diversity and the more positive aspects of its activist history reflected its promise as ‘a great centre for an African—and South African—Cultural experiment.’ As the immediate future was another country for the architects of apartheid who came to power in May 1948, Dhlomo did not live to see his hopes realised. He died in 1956, aged 53.

Dhlomo headline

2. His editorial for that Monday in April 1949 focussed on ‘the unique collection of African art and crafts’ the Africanists Killie Campbell and her brother William had on display at their Durban home. Dhlomo wrote not just to celebrate its ‘treasures’ but to encourage ‘African leaders, patriots and artists to co-operate and to help preserve’ them by relocating the collection to ‘a public building’. Yet he also had other, larger reasons for affirming its public value. Writing less as a journalist than as a poet, playwright and author of short stories, he argued the collection had a vital part to play in the future of a new African art. To clarify what he meant he turned to the Indian ‘poet-philosopher’ Rabindranth Tagore, prefacing his editorial with the following quotation:

Tagore quotationThus placed between two contending forces, we shall mark out the middle path of truth in our national life; we shall realise that only through the development of racial individuality can we truly attain to universality, and only in the light of the spirit of universality can we perfect individuality; we shall know of a verity that it is idle mendicancy to discard our own and beg for the foreign, and at the same time we shall feel that it is the extreme abjectness of poverty to dwarf ourselves by rejecting the foreign.

Given the intercommunal (African/Indian) violence that had recently convulsed Durban, this was a multiply significant gesture to make in the pages of Ilanga Lase Natal in April 1949. Yet, for Dhlomo, what Tagore offered first and foremost was a cultural lesson for African artists of the 1940s. Glossing the sentence he explained: ‘we can only create true art and thought by being rooted in our own native soil even if outwardly we soar high and imbibe the foreign.’ Tagore’s second lesson was more broadly political. ‘Politically and socially we are fighting tribalism and building a united African nation’, Dhlomo commented, referencing the larger project to which he and other New African intellectuals of the time were committed. This made understanding the value of the Campbell collection in Tagore’s terms more significant still. While the collection would ‘help our creative spirits to merge the various tribal forms into one rich and varied national idiom,’ Tagore encouraged them to do so without succumbing to a narrow nationalism by closing themselves off to the ‘foreign’.

3. Dhlomo cited Tagore in translation. His lengthy prefatory sentence comes from the conclusion to ‘Bharatbarser itihaser dhara’ (‘The Flow [or Tradition] of Indian History’), an essay Tagore first published in Bengali in 1912. When it appeared in Calcutta’s Modern Review a year later, the translator, Jadunath Sarkar, re-titled it ‘My Interpretation of Indian History’. As an academic historian, Sarkar probably had professional reasons for highlighting the idiosyncrasy of Tagore’s vision—he was always a little wary of his esteemed compatriot’s creative approach to scholarship and the past. Yet his rather antique Victorian English produces idiosyncratic distortions of its own. Rewording the sentence in a more contemporary English idiom, which is also closer to the suppleness of Tagore’s Bengali, puts a different gloss on Dhlomo’s citation:

In this way, falling between the push and pull of two sides, the middle true path will mark our national life and we will then realise that it is by knowing other peoples that we truly know ourselves and by knowing ourselves that we know all others; we simply must understand that just as to sacrifice one’s self in the desire for the other is useless beggary, so too, to diminish one’s own self by forsaking the other is the ultimate impoverishment.

The ‘we’ in this case refers primarily to India’s diverse communities and the ‘two sides’ to the rivalrous but, for Tagore, equally and problematically absolutist forces of British imperialism and Indian anti-colonial nationalism. Characteristically, however, he did not have in mind only the relations between the colonizer and the colonized, the foreign and the indigenous. Thinking interculturally along the lines he developed in the last three decades of his life always had as much to do with relations among India’s own communities where the ‘self’ could be Muslim, say, and the ‘other’ Hindu, or, to cite the two ancient caste-groups on which he focussed in the essay, Brahmin and Kshatriya. The alternative translation keeps all these possibilities in play. It also shows that his vision was underpinned not by a metaphysical ‘spirit of universality’, as Sarkar had it, but by an approach to knowledge (and a way of life), derived in part from the Baul singers of Bengal, which centres on the vitalizing and potentially transformative interdependency of self and other, the known and the unknown.

Amit quote
‘in the midst of the known i have found the unknown’, line from a Tagore song, part of Amit Chaudhuri’s new “Indian road signs” series.

4. Understood in these terms, Tagore’s sentence speaks as much to Dhlomo’s artistic ambitions as to his New African conception of nation-building and his concerns about Durban’s recent history of intercommunal violence, adding further weight not just to his citation but to his hopes for a future in which the city might become ‘a great centre for an African—and South African—Cultural experiment.’ Dhlomo may have been the first New African intellectual to take up Tagore’s challenge at a particularly charged moment in South Africa’s history, but, as I argue in the book, he was not the last. Having found his own way to Tagore in the early 1940s, Es’kia Mphahlele continued to draw inspiration from him well into the 1980s and beyond (see Chapter 4).

Acknowledgements

Thanks to Ntongela Masilela for alerting me to Dhlomo’s citation, Rosinka Chaudhuri for re-translating Tagore’s sentence, and Amit Chaudhuri for permission to use his street sign quotation from Tagore. This forms part of his exhibition The Sweet Shop Owners of Calcutta & Other Ideas at The Harrington Street Arts Centre, Kolkata, 14-18 August 2018: for a tour see the YouTube video of exhibition.

Though the Campbell collection is still in the family home ‘Muckleneuk’, the house and the collection were both bequeathed to the city of Durban in 1965 when Killie Campbell died and since then the collection has been curated by the University of KwaZulu-Natal.

References

H. I. E. Dhlomo, ‘Great Contribution To African Culture‘, Ilange Lase Natal, 23 April 1949. See also Ntongela Masilela’s website: New African Movement.

Rabindranath Tagore, ‘My Interpretation of Indian History: II’, Modern Review, 14.2 (September 1913), 231-36. For the original Bengali, see Tagore, ‘Bharatbarser itihaser dhara’, Rabindra Rachanavali, XIII (Calcutta: Government of West Bengal, 1990).

For more on Tagore’s creative approach to history, see Tapan Basu, ‘Caste Matters: Rabindranath Tagore’s Engagement with India’s Ancient Social Hierarchies‘, South Asia: Journal of South Asian Studies, 35:1 (2012), 162-71; Rosinka Chaudhuri, ‘The Flute, Gerontion, and Subaltern Misreadings of Tagore‘, Social Text, 22.1 (2004), 103-22; Rajan Ghosh, ‘Rabindranath and Rabindranath Tagore: Home, World, History‘, History and Theory, 54 (December 2015), 125-48; and Ranjit Guha, History at the limit of of World-History (New Delhi: Oxford University Press, 2003).

Wake Signage

 

Stoop

 

 

 

 

 

 

Everinter

 

 

 

 

 

 

 

yung

 

 

 

 

 

 

 

mamafesta

 

 

 

 

 

 

Europa

 

 

 

 

 

 

Mutuomorpho

 

 

 

 

 

 

 

Vocable

 

 

 

 

 

 

 

Majik

 

 

 

 

 

 

 

 

Dinkum

 

 

 

 

 

 

iSpace

 

 

 

 

 

 

Goods

 

 

 

 

 

 

Googling

 

 

 

 

 

 

Einstien

 

 

 

 

 

 

 

 

Idol

 

 

 

 

 

 

 

Wordpress

 

 

 

 

 

 

 

Daunty

 

 

 

 

 

 

 

Hindustand

 

 

 

 

 

 

HCE

 

 

 

 

 

 

riverrun

 

 

 

 

 

 

Anna

 

 

 

 

 

 

kapnimancy

&

 

 

 

infusionism

 

 

 

 

 

 

Hum Lit

 

 

 

 

 

 

broken

 

 

 

 

 

 

 

Alliving

 

 

 

 

 

 

roran

 

 

 

 

 

 

 

Citye of Is 2

 

 

 

 

 

 

 

funferall

 

 

 

 

 

 

Woid

 

 

 

 

 

 

 

 

 

 

 

 

bewilder

 

 

 

 

 

 

 

Finnegans

 

 

 

 

 

 

 

thunder

 

 

 

 

 

 

Tobecontinued

El Loko’s Cosmic Alphabet

IMG_2085

Xu Bing began to develop the pictographic resources for his Book from the Ground project in 2004 (see the postscript to the book and webnote z). A decade earlier, driven by a similarly utopian impulse, the Togo-born artist El Loko (1950-2016), started to create an idiosyncratic writing system of his own, blending stylized images of fable-creatures from his native Togo, motifs from the Christian tradition, and other idiomatically abstract designs peculiar to his own work. Unlike the found icons in Book from the Ground, the resultant script is illegible, though, as Loko commented, he too dreamed of establishing “one language for the entire world.” Over the course of the next two decades he experimented with his evolving script using various media, including paintings, sculptures, installations and photographs.

The images above and below show the last site-specific articulation of his vision which forms part of the top-floor terrace and ceiling of the Museum of Contemporary Arts Africa (MOCAA) in Cape Town, South Africa. The building itself, designed by the English architect Thomas Heatherwick, re-purposes a block of concrete silos, creating the gallery and a hotel. The silos, which were constructed in the early 1920s to store grain for export from the Cape Town harbour, had been derelict since the early 2000s. The glass-covered circles, each of which is made up of panels inscribed with Loko’s script, mark the space the individual silos originally occupied. Though everyone can see through them to the gallery space far below, no one can see through the ‘cosmic letters’ to decipher their meaning, creating an experience of ‘reading’ closer to Xu Bing’s Book from the Sky (or Joyce’s Finnegans Wake) than to Book from the Ground. That the script ought, in principle, to be universally accessible but is, in practice, cryptically private is no doubt part of Loko’s point about the work that still needs to be done to overcome the silo-mentalities of a multiply divided world. The specificities of the site and materials are key. While inventively turning the ghostly grain silos into metaphors, Loko also creates a more literal play on opacity and transparency by etching his unreadable ‘letters’ on glass.

(Other notable artists who engage with writing as a creative medium include Willem BoshoffAugusto de CamposIan Hamilton Finlay, Parastou ForouarJoseph Kosuth, Barbara KrugerGlenn LigonEd Ruscha, and Antoni Tàpies. See also 8 Text Artists and the ‘Kirsty Gunn’ post under ‘Other Writers’.)

Capture

 

 

IMG_2052

 

 

 

 

 

IMG_2069

2018-03-28-PHOTO-00000099

 

IMG_2093

Re-reading/Coetzee’s Disgrace

他觉得,对自己这样年纪五二十岁、结过婚又离了婚的男人来说,性需求的问题可算是解决得相当不错了。

1. If the Chinese writing system is not part of your cultural repertoire, this sentence is quite literally unreadable. You may recognize it as Chinese but is it Mandarin, Cantonese, Hokkien or Teochew? Recasting it in pinyin may make it more legible in the most basic sense—that is pronounceable—if you are familiar with Latinate writing systems:

Tā juédé, duì zìjǐ zhèyàng niánjì wǔ’èrshí suì, jiéguò hūn yòu líle hūn de nánrén lái shuō, xìng xūqiú de wèntí kě suànshì jiějué dé xiāngdāng bùcuòle.

Yet, even in this form, you are still likely to be left guessing. How exactly do you say ‘xìng’, for instance? Even if English is not your first language, you will probably feel more comfortable with the following translation:

In his opinion, as a 52-year-old man who got married and then divorced, he solves the problem of sex very well.

By this point, if you have read J.M. Coetzee’s Disgrace (1999), you may have recognized this as a version of his own first sentence:

For a man of his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well. (1)

Like the back translation, these twenty familiar English words pose no real difficulties when it comes to pronunciation and even their sense, individually and grammatically, is clear. And yet this is one of the most opaquely transparent opening sentences ever written, making it, for the English-reading world, the literary equivalent of a koan. Why is this? And what sense are we to make of it?

2. To get a purchase on its koan-like qualities we need to look not only to the tradition of creative doubt which is central to Zen Buddhism, but to the history of the European novel and, more particularly, to Coetzee’s dialogue with Gustave Flaubert’s Madame Bovary (1857). Disgrace itself draws attention to this key literary relationship at a number of levels. For one thing, Flaubert’s boldly and, in its day, scandalously innovative novel is explicitly tagged as a part of the central protagonist David Lurie’s cultural repertoire. While dwelling on the pleasures of his ‘assignation’ with the Muslim prostitute Soraya, Lurie identifies himself with Flaubert’s heroine: ‘He thinks of Emma Bovary, coming home sated, glazen-eyed, from an afternoon of reckless fucking’ (5). Later, after his dutiful, adulterous ‘congress’ with Bev Shaw, the ‘dumpy’ vet who runs an animal refuge in which he ends up working as a volunteer, he boastfully imagines Bev singing to herself in front of the mirror—‘I have a lover! I have a lover!’—again like Emma (72, 150). These allusions reflect back on the content of Disgrace itself, inviting readers to think of it as a self-conscious recasting of Flaubert’s disaster story of illegitimate desire, now told not from the perspective of a young, provincial bourgeois woman in post-revolutionary France but from Lurie’s point of view as a middle-aged, middle-class, white academic of Jewish heritage in post-apartheid South Africa.

3. Yet it is at the narrative rather than the character level that the idea of Disgrace as a creative re-writing of Madame Bovary becomes most telling. Like the basic content of the story, this is visible on every page, since it concerns Coetzee’s use of style indirect libre, Flaubert’s innovative narrative technique that contributed both to Madame Bovary’s initial notoriety and to its subsequent canonical status in the history of the European novel. The consequences of this, which are not only technical, can be seen most clearly through comparison.

3.1 I’ll take just one example from Madame Bovary: the account of Emma’s fantasies about Rodolphe, her latest lover, in Chapter 12. By this stage, she is already long-settled into her boring marriage and the disappointments of motherhood. After explicitly signalling that ‘she lay awake, dreaming other dreams’, the third-person narrator, who uses the conventionally novelistic past tense throughout, describes the glamorous life she anticipates leading with Rodolphe, shifting into the hypothetical future conditional. Among other things, Emma imagines they would ‘ride in gondolas, they’d laze in swaying hammocks, and their life would be free and flowing like their silken garments, warm and star-studded like the soft night skies they’d gaze at’ (174). In a move characteristic of Flaubert’s technique, the narrator not only enters the time of fantasy—the future conditional—he (?) ventriloquizes Emma, adopting the language she herself borrows from the popular romances she read as a girl. During her convent-school education, as we learn in Chapter 6, she developed a taste for pre-revolutionary aristocratic love stories that describe ‘wounded hearts, vows, sobs, tears, and kisses, gondolas by moonlight, nightingales in woods, and “gentlemen” brave as lions’ (34). The allusion to the Venetian scenes she read about earlier is understated, but the narrator ensures that when they resurface in Chapter 12 via the device of style indirect libre the deflationary, ironizing effect is clear. ‘Everything hovered in a harmonious, sun-drenched, bluish haze along the boundless horizon’, the sequence ends, ‘but then the child in her crib would cough, or else Bovary would give a louder snore, and Emma would not fall asleep till morning’ (174). At this point, as we move from the romanticized fantasies Emma articulates in her own borrowed idiom to the narrator’s external commentary and from the hypothetical future conditional to the dull routines of Emma’s daily life, her dream-world implodes and we are left thinking about the very different love story that is Madame Bovary itself.

3.2 Contrast this with Coetzee’s opening sentence: ‘For a man of his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well’ (1). Again, as in Flaubert, we have a disembodied third-person narrator reporting what is going on in the mind of the central protagonist. The only difference is that this narrator adopts the present tense—in this instance, the present perfect, signifying a completed action—and gives no cues about the provenance of the idiom used. Though the phrase ‘to his mind’ relativizes the second clause, there is no indication at this point that any of the words belong to Lurie himself. A few pages on, after Lurie becomes embroiled in a sexual scandal with a student, which ultimately costs him his job, various subsequent cues indicate otherwise. This is not just because, as the plot reveals, Lurie clearly has not solved the problem of sex at all, but because we begin to see that thinking of sex as a ‘problem’ to be ‘solved’ is one of Lurie’s many problems. As this phrasing suggests, Lurie is not only a devotee and teacher of English Romantic poetry, he is also an adherent of the European Enlightenment tradition. Both traditions play a part in the way he thinks about desire. In his various attempts at justifying his sexual adventurism to his lesbian daughter Lucy, for instance, he switches from citing William Blake—‘Sooner murder an infant in its cradle than nurse unacted desires’—to making rationalistic appeals to what he calls the ‘rights of desire’ (69, 89).

4. Seen against this background, we can not only identify the phrase ‘solved the problem of sex’ as Lurie’s. We can begin to appreciate its oddly self-cancelling status. It is as if we can, on a second reading, re-write the first sentence as follows: ‘For a man of his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well.’ The same can be said for many other passages in which the third-person narrator adopts Lurie’s idiom. Take the following account of the forced sexual encounter with the student Melanie that precipitates his fall from grace:

He carries her to the bedroom, brushes off the absurd slippers, kisses her feet, astonished by the feeling she evokes. Something to do with the apparition on the stage: the wig, the wiggling bottom, the crude talk. Strange love! Yet from the quiver of Aphrodite, goddess of the foaming waves, no doubt about that. (25)

This represents a significant re-working of Flaubert’s style indirect libre. Unlike Flaubert, who ironizes Emma’s romantic idiom, playing her future conditional fantasies off against her mundane life as a wife and mother, Coetzee uses and then cancels Lurie’s high-minded phraseology, inviting us to take it, on a first reading, as an unmarked, apparently secure justification in the voice of the narrator, and then, on a second, as a marked, and now suspect self-description or rationalization on Lurie’s part. The fact that all this takes place, for us as readers, in the perpetually unfolding narrative present only compounds the uncertainties.

Disgrace title
The self-cancelling title as represented on the initial cover design for the first UK edition

5. A passage from the postscript to Coetzee’s next foray into literary writing Elizabeth Costello (2003)—Lady Chandos’s letter to Lord Bacon which its itself a reworking of Hugo von Hofmannsthal’s Ein Brief (1902)—sums up the peculiar, koan-like effect of continuous composition and decomposition Disgrace creates when we consider its dialogue with Madame Bovary at the level of form. ‘Like a wayfarer (hold the figure in mind, I pray you),’ Lady Chandos writes, attempting to describe her own growing scepticism about language, ‘like a wayfarer I step into a mill, dark and disused, and feel of a sudden the floorboards, rotten with wetness, give way beneath my feet and plunge me into the racing mill-waters’ (228). By turning the technique of style indirect libre, which Flaubert used for ironic purposes, into a device of linguistic self-cancellation, Coetzee turned his own readers into Lady Chandos’s insecure wayfarers, patching together a narrative of rotten floorboards, and, in the process, fashioning a literary critique not just of the English language but of the Humboldtian ‘worldview’ Lurie’s culture-laden idiom encodes (see the ‘Re-Reading Humboldt’ post).

6. This is true not just of the way Lurie thinks about desire but of his worldview more generally. Take his attitudes to animals. Initially he is indifferent to them, an indifference he characteristically rationalizes by citing chapter and verse from the European tradition. ‘The Church Fathers had a long debate about them, and decided they don’t have proper souls,’ he tells Lucy (78). Later, when he is thinking about two sheep bought to slaughter for a party, Descartes, another European exponent of the belief in animals as a sub-order of useful things, now couched in the terms of Enlightenment rationalism, surfaces in a passage of style indirect libre that might be rendered as follows:

Sheep do not own themselves, do not own their lives. They exist to be used, every last ounce of them, their flesh to be eaten, their bones to be crushed and fed to poultry. Nothing escapes, except perhaps the gall bladder, which no one will eat. Descartes should have thought of that. The soul, suspended in the dark, bitter gall, hiding. (123-24)

A few paragraphs later, all this assertion collapses when ‘a bond seems to have come into existence between himself and the two Persians, he does not know how’—all he knows is that ‘suddenly and without reason, their lot has become important to him’ (126).

7. Or take the account of his actions on the final pages. By surrendering the maimed dog he has befriended to be destroyed, Lurie reveals he no longer believes the Christian and Cartesian doctrines about animals he once held. Yet, in keeping with the way the Disgrace re-works Flaubert’s style indirect libre, the narrative continues to show him attempting to conceptualize his actions in various ways. The vet’s ‘operating room’ in which he works alongside Bev, Lurie now sees, having changed his mind about animals—or rather having had it changed for him—is a place ‘where the soul is yanked out of the body’, or, in another, less theological formulation, he thinks of it as a ‘room that is not a room Disgrace dogbut a hole where one leaks out of existence’ (219). Similarly, the concluding paragraphs do not resolve the question of what to call the ‘sessions’ in which he and Bev are engaged (218). Are they, as particularly freighted free indirect foreign word suggests, acts of ‘Lösung’ (218)? ‘German always to hand with an appropriately blank abstraction’, Lurie observes earlier (142). Though the word literally means ‘solution’—hence Lurie’s comments on ‘sublimation, as alcohol is sublimed from water, leaving no residue’—it inevitably carries echoes of ‘Endlösung’, the official Nazi term for the ‘Final Solution’ (142). We might also recall Lurie’s apparently final solution to another seemingly rational ‘problem’ in the first sentence. Or are the ‘sessions’ dignifying, even sacrosanct acts of ‘love’, as Lurie himself comes to learn from Bev (219)? In the penultimate paragraph he enters the surgery ‘bearing’ the maimed dog ‘like a lamb’, and, in answer to Bev’s question, declares: ‘Yes, I am giving him up’—perhaps, recalling Lurie’s Jewishness, we could say like Abraham when he is called by his Old Testament god to sacrifice Isaac (220).

8. Lurie may now understand his actions in this way, but Disgrace remains non-committal, given the use it makes of the device of self-cancellation. Probing the limits of Lurie’s world from within, it questions his language and all it carries in its wake at every turn, treating his English less as a transparent medium of expression than as a shaky assemblage of rotten floorboards badly in need of renovation—one of which is Madame BovaryYet, since Flaubert’s novel is also part of Coetzee’s repertoire as a writer, its status in Disgrace is double-edged: if it is a questionable element of Lurie’s European heritage, it is also an animating precursor that enabled Coetzee to extend his interrogation of the European novel, prompting koan-like creative doubts among his English readers in new ways and, in the ideal case, plunging them into the racing mill-waters in which their own culturally-embedded idioms and forms of knowledge might be seen more clearly for what they are and be transformed. Compare the plunge the contemporary author-figure takes into other waters in the last section of Foe (1986), the first three parts of which are patched together out of Daniel Defoe’s turgidly dense eighteenth-century English (see Chapter 5 of the book and the ‘Timothy Garton Ash’ post).

REFERENCES

This is a revised, edited and adapted version of an extract from ‘Coetzee’s Critique of Language’, my chapter contribution to Beyond the Ancient Quarrel: Literature, Philosophy and J. M. Coetzee, eds. Patrick Hayes and Jan Wilm (Oxford: Oxford University Press, 2017). I am grateful to Liang Dong for his help translating the Mandarin edition of Disgrace.

J. M. Coetzee, Disgrace (London: Secker & Warburg, 1999).

———., 耻 (Chǐ, Disgrace or Shame), trans. 张冲 (Zhāng Chōng) and 郭整风 (Guō Zhěngfēng) (Nanjing: Yilin Press, 2010). This is the Mandarin edition.

———., Elizabeth Costello (London: Secker & Warburg, 2003).

Gustave Flaubert, Madame Bovary, trans. Margaret Mauldon (Oxford: Oxford University Press, 2004).

Scott’s paradox: between hill and valley

Most of the terms that we would translate as crude, unrefined, barbaric and, in the Chinese case, raw refer directly to those who live in the hills and forests.

1. James C. Scott makes this observation in the introduction to The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia (2009). As I have noted elsewhere on this site (see First Proposition, 1.4.1), this particular set of lexical associations links the concept of culture, understood as a catch-all for the processed, refined, civilized or cooked, to relatively settled agrarian polities and so to the history of state-making whether in its ancient, national-colonial or contemporary guises. This makes the concept itself a vital constituent of valley thinking in Scott’s terms, that is, of the wet-rice cultivating polities that emerged in the river valleys of Southeast Asia, or Zomia, defining themselves against the peripheral, mobile and state-evading peoples of the hills. The ‘barbarians’ (βαρβάρους), as the Greek poet Constantine Cavafy recognized at the turn of the last century, have always been ‘a kind of solution’ (μια κάποια λύσις) for state-makers in this respect, helping to clarify and shore-up their own self-understanding as the exclusive custodians of culture.

2. Yet, as Scott continues, and as I argue across this site and in the associated book, these emphatic assertions of difference take place against a background of a ‘centuries-old, brisk traffic in people, goods and culture [in the sense of artefacts and practices] across the very permeable membrane between the hills and the valleys’ (28). Hence Scott’s ‘paradox’: despite the abundant evidence of intercultural movement and exchange the ‘divide’ between these communities remains a ‘stark and durable’ part not just of their respective self-understandings but of their ‘lived experience’ (28).

2.1 How are we to make sense of this? To begin with, Scott suggests, we have to abandon the ‘just-so’ story favoured in the colonial era but which still forms part of ‘popular folklore today’: namely, that the hill “tribes”—the term itself belongs to the lexicon of the state—are ‘the historical remnants of an earlier stage of human history: what we [i.e. the valley people] were like before we discovered wet-rice agriculture, learned to write, developed the arts of civilization, and adopted Buddhism’ (28). Instead, ‘we’ [again the valley people but also scholars who share their assumptions] should recognize that ‘valley states and hill peoples’ are ‘constituted in each other’s shadow, both reciprocal and contemporaneous’—that is, part of a composite, always evolving modernity, not a sequential narrative of progress, where the statist valley communities define themselves against and depend on the anti-statist hill peoples, and vice versa (28). Joyce coined the term ‘mutuomorphomutation’ to describe this process (see Fifth Proposition, 5.4). As Scott notes, this applies not only to regions of Southeast Asia on which he focuses but, among others, to ‘Amerindian societies of South America’ and the ‘structural opposition between Arabs and Berbers’ in the Maghreb—for the former he references Pierre Clastres’s La Société contre l’état (1974) and for the latter Ernest Gellner’s Saints of the Atlas (1969). ‘Far from being successive stages in social evolution,’ Scott concludes, ‘such states and nomadic peoples are twins, born more or less at the same time and joined in a sometimes rancorous but unavoidable embrace’ (29). Following Pierre Bourdieu’s La Distinction (1979), this logic could be extended to the structural conflicts between literate elites and those deemed to be the non-, il- or semi-literate masses (within the same state) or those identified as belonging to an exclusively oral world (outside the state)—but think also of UNESCO’s founding commitment to the global extension of literacy in the late 1940s and beyond (see the Prologue to Part II of the book).

3. In fact, for Scott, the most debatable element of his own alternative ‘non-state-centric history’ arises in relation to the question of orality and literacy (38). While he is reasonably confident about seeing the ‘economic, political, and cultural organization’ of the hill people as ‘a strategic adaptation to avoid incorporation in state structures’ (39), he acknowledges that the evidence for making the same claim about the ‘maintenance (if not creation) of nonliteracy’ (note: not illiteracy) is ‘almost entirely circumstantial’ (220). He none the less proffers this as a plausible reading of the ‘oral legends’ many peoples around the world, not just the hill communities of Southeast Asia, tell to explain how they came to be without writing, many of which centre on one key theme: ‘the people in question once did have writing but lost it through their own improvidence, or would have had it had they not been cheated of it by treachery’ (221). On this account, orality too has a strategic dimension: ‘if swiddening and dispersal are subsistence strategies that impede appropriation; if social fragmentation and acephaly hinder state incorporation; then, by the same token, the absence of writing and texts provides freedom of maneuver in history, genealogy, and legibility that frustrates state routines’ (220).

1280px-Baul_Santiniketan
Baul singers in Santiniketan (Credit: ptwo)

3.1 The Bāul singers of Bengal, who, as I note in Chapter 4 of the book, had a definitive influence on Rabindranath Tagore, clearly recognize the advantages Scott outlines, though in their case the enemy is not the state as such but the sometimes state-aligned authority of institutionalized religion embodied in the Hindu temple, the Muslim mosque and the associated written traditions (look and listen here). Much the same can be said of the ways in which the Zen tradition downplayed the importance of the Buddhist sutras, a challenge the contemporary Chinese artist Xu Bing has extended to include the canonical forms of Chinese literate culture as well: the newspaper and the printed book (see天书/Tiānshū (1988), webnote x, and Postscript).

3.1.1 Yet, as Xu Bing’s own works show, and as the writings of Tagore, Joyce and many of the contemporary authors I discuss in the book and on this site confirm, it is equally clear that certain forms of literary writing and artistic practice can also be said to create ‘freedom of maneuver in history, genealogy, and legibility that frustrates state routines’, opening up other ways of thinking about writing and culture itself. So, ‘writing’ may generally be ‘on the side of the law’ as Clastres put it in a statement from La Société contre l’état Scott cites as an epigraph; but, taking Finnegans Wake as a paradigm case, there are also notable exceptions to this rule (220). It is just that valley thinkers don’t much like them because they threaten their self-understandings as literate elites and guardians of the state’s idea of culture.

REFERENCES

James C. Scott, The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia (Yale, 2009).

ptwo http://www.flickr.com/people/ptwo/ 

 

sky-installation
天书/Tiānshū (1988) by permission of the Xu Bing Studio