GERTRUDE - Book review

 

Hermann Hesse’s 1910 novel Gertrude is a slim work told in the first person. The narrator Kuhn comes from a reasonably wealthy family – who are not particularly keen on his chosen profession in music, as a violinist and a composer. His relationship with both parents is somewhat distant, though he grows closer to his father in time: ‘Youth ends when egotism does’ (his father tells Kuhn) ‘maturity begins when one lives for others.’ (p89)

Early in his life Kuhn suffers a serious accident and has to contend with a pronounced limp. He finds making friends problematic and repeatedly fails when seeking companionship with women. However, his musical ability is recognised by a notable opera singer, Heinrich Muoth, a flamboyant character, imbiber of alcohol and a womaniser; a friendship develops.

Kuhn makes the acquaintance of a rich merchant called Imthor, who invites him to play a Trio in E flat major that Kuhn recently composed, accompanied by another violinist and cellist. At this soiree Kuhn meets Gertrude, Imthor’s attractive daughter, and is smitten: ‘I dedicated my music and my life’s breath, my thoughts and my heart to her.’ (p65).

Gertrude is an accomplished singer and appreciates Kuhn’s musical skill. However, partly due to his awareness of his disability, Kuhn finds it hard to summon the courage to reveal to her his feelings, which remain unrequited. 

Kuhn’s life takes on complications when Muoth is introduced to Gertrude and they become an ill-matched doomed pair. This is not a romantic novel and there is no happy ending. It is however believable, annoyingly where Kuhn’s lack of self-worth is concerned, and ultimately tragic, though a kind of contentment pervades the ending.

Looking back, Kuhn states ‘… my life has not been empty and worthless. Even if my external destiny has unfolded itself as it does with everyone, inevitably and as decreed by the gods, my inner life has been my own work, with its joys and bitterness, and I, alone, hold myself responsible for it.’ (p5) [An attitude sadly lacking in many these days, it seems.] 

This was an early work for Hesse. At one point Kuhn befriends one of his teachers, Mr Lohe, who dabbles in Eastern mysticism; perhaps also signalling Hesse’s early introduction to the subject: ‘Then came the teachings about Karma. It appeared to me to be a religious interpretation of the law of causality, which was not unattractive to me.’ (p51)    

Hesse seems to get into the skin of a musician. ‘… it has been a continual consolation to me and a justification for all life that there is music in the world, that one can at times be deeply moved by rhythms and pervaded by harmonies. Oh, music! A melody occurs to you; you sing it silently, inwardly only; you steep your being in it; it takes possession of all your strength and emotions, and during the time that it lives to you, it effaces all that is fortuitous, evil, coarse and sad in you; it brings the world into harmony with you; it makes burdens light and gives wings to the benumbed!’ (p6)

Ruminating later on music, Kuhn states, prophetically: ‘… that light and dark were closely related and that sorrow and peace were rhythm, part and spirit of the same great music.’ (p26) 

‘It was simple, lyrical music, which softly pined and faded away like a summer evening, neither happy nor sad, but which hovered in the mood of an evening that is ending, like a cloud glowing at sunset.’ (p128)

Kuhn finally meets Gertrude a third of the way through the book. Yet, perplexingly, he does not describe her eyes. ‘The pretty girl made on impression on me as soon as she came in…’ (p65).  He mentions ‘her lovely bright eyes’ but not their colour (p67). He also makes friends with a musician, Teiser, and he describes his friend’s ‘blue-grey childlike eyes’ (p69). 

A harbinger is inserted by Muoth: ‘Youth is the most difficult time of life. For example, suicide rarely occurs amongst old people.’ (p71)

Anyone appreciating music will undoubtedly empathise with Kuhn in his tale of love, despair, and redemption. 

Notes:

I cannot understand why Hesse referred to a place simply as ‘R’ – particularly when other places are mentioned.

Blurb warning. Do not purchase this copy. The blurb on the back is in effect a synopsis of what is going to happen, including the tragedy at the end, destroying any shock or surprise. The blurb-writer should have been shown the door! Thankfully, other editions don't appear to have used this version of the blurb.

Book review - Incident on Ath (Dumarest 18)

E.C. Tubb’s eighteenth book in the Earl Dumarest galaxy-spanning saga is Incident on Ath.

But first, some background:

The Dumarest novels are set in a far future galactic culture that spread to many worlds. Earl Dumarest was born on Earth, but had stowed away on a spaceship when he was a young boy and was caught. Although a stowaway discovered on a spaceship was typically ejected to space, the captain took pity on the boy and allowed him to work his passage and travel on the ship. By the time of the first volume, The Winds of Gath, Dumarest has travelled so long and so far that he does not know how to return to his home planet. Perplexingly, no-one has ever heard of it, other than as a myth or a legend. It’s clear to him that someone or something has deliberately concealed Earth’s location. The Cyclan, an organization of humans (cybers who are surgically altered to be emotionless, and on occasion they can link with the brains of previously living Cyclans, in the manner of a hive mind process, seem determined to stop him from locating Earth. The cybers can call on the ability to calculate the outcome of an event and accurately predict results.

An additional incentive for the Cyclan to capture Dumarest is that he possesses a potent scientific discovery, stolen from them and passed to him by a dying thief, which would inordinately amplify their already considerable power and enable them to dominate the human species. Also appearing in the books is the humanitarian Church of Universal Brotherhood, whose monks roam many worlds, notably every world where there is war.

***

Incident on Ath (1978) is a self-contained adventure; it begins on the planet Ath, with a gifted artist, Cornelius, and his sensual sponsor Ursula; he craves perfection in his art and she is prone to taking a drug that offers her temporary oblivion.

On the planet Juba Dumarest rescues a woman, Sardia, from attack. She is a retired ballet dancer, now dealing in artwork and artefacts. She is grateful and takes him back to her apartment. ‘Asleep she was more beautiful than awake, small tensions eased, muscles relaxed, the hand of time lifted from brow and cheek and the corners of the eyes. The mane of her loosened hair lay like a serpent over the pillow… In her throat, beneath the rich olive of her skin, a small pulse beat like a tiny drum.’ (p35) Here, in the apartment, among her collection he spots an intriguing painting – a scene depicting a familiar sight. ‘The moon he had seen when a child on earth’ (p26). Dumarest learns that the painting comes from Ath.

Also on Juba is a Cyber Hine; at puberty he was operated on: an adjustment to the cortex which took from him the ability to feel emotion… Yet Dumarest cleverly evades the cyber with Sardia’s help.

He and Sardia arrive on Ath to find there are no taverns, no hotels. To obtain accommodation you have to be a guest. Guests are bid for by the populace. They have little choice but to go along with the local custom. Dumarest becomes the guest of the woman Ursula – who reveals that she knows of earth! Sardia is the guest of Cornelius… 

Cornelius tells Sardia about the creative impulse, applicable to writers as much as artists: ‘You get an idea, a concept, and you work on it until, within your mind, it is there in its final accomplishment. A work complete in every detail. Then comes the need to communicate and so the necessity of taking that image from the mind and setting it down on canvas…’ (p86) ‘A determination to pursue the demon which plagued him; the creative madness which cursed all true artists. A thing they carried as a burden and a dread, hating it, fearing it, owned by it and totally possessed by it.’ (p88).

As a dancer, Sardia empathises. ‘No dance could be given a personal interpretation without confronting the same devils which tormented every creative artist. The compromise. The limitation of the medium involved. The hopes and aspirations and, always, the sickening knowledge of failure.’ (p86)

Dumarest saw the parallels between Cornelius and himself. ‘Yet the quest was a search and both men sought, in their own way, to find the same thing. The truth… A painting finished – a world found.’ (p89)

As always, Tubb was inventive – ‘The cube itself provided the music…’ (p103) – this written long before the devices we now have in the twenty-first century.  

There are two cultures on Ath – ‘the Choud make the decisions and the Ohrm obey. Anything else is unthinkable.’ (p141) Only there are factions who are intent on overthrowing the Choud, though those in power seem incapable of conceiving any kind of rebellion… Arrogant, uncaring, incapable of listening, the Choud are in for a surprise – as will be the reader when the devastating truth is revealed.

A fast-paced moral tale about the over-reliance on computer systems with plenty of insights into the human condition.

Note:

A pity the blurb writer didn’t read the text more closely. The back cover states ‘His rail led to Ath – and to the ominous forces of the Cylan’ when it should be Cyclan! Oh, well…

Editorial comment

In the text we have: ‘… the forearm pressed against her windpipe as the snort of the laser he held pressed against her temple.’ (p174) Of course this should be ‘snout’ not ‘snort’ and there are ways to avoid repeating ‘pressed against’…

Roger Eames, R.I.P.

Our friend Roger died on 30 September. He was born 1 May 1940. There was a memorial service to celebrate Roger’s life at Campoverde Church on Monday, 7 November at 11:30. Members of Chorale (Christine’s choir), Vivace, Coro Pilar and others sang, and Jennifer sang a solo, ‘Where’er You Walk’.

Order of Service - p2 - RAE - Roger Andrew Eames

As his obituary says, he was “a brilliant husband, dad, and grandpa who will be very sorely missed.”

Roger bravely battled bladder cancer for 6 years before it claimed him. He was full of courage, showed wisdom with a twinkle in his eye, and was a purveyor of “fabulous” jokes. His various pursuits revealed his endless patience: a wordsmith not averse to the odd pun, he was also an excellent model-maker and incredible jazz bass player and producer.

Six years ago I wrote an article about Roger that was published in the local magazine, The New Coastal Press, June 2010, under the title ‘A Model Retirement’. This is a fair portion of it, which illustrates his artistry, skill and infinite patience:

Roger Eames has three passions, it seems: his wife Christine, music and his modelling. The last developed from his childhood interest in model railways.

            While living in Northampton, he met an ex engineer called Arthur who offered to make glass display cases for him. ‘Indeed, quite a lot of modellers were Reverends or engineers,’ he says. Roger pointed out that the Pendon model museum, established in 1954, was and still is an inspiration to any modeller. Many excellent images of model scenes and dioramas can be viewed at www.pendonmuseum.com.

            For about forty years Roger has created models – some eighty of them, in thin glass cases, their edges soldered with copper. They’re attractive to look at and you can spend considerable time studying the exquisite detail.

            ‘It’s essential to plan ahead,’ he says. ‘I measure everything first on card and create a mock-up using Publisher, computer software. Remember, these buildings are 1:72 scale.’ The finished product will be semi-relief – false front, if you like – and three to four inches deep.

            His source material is usually a number of photographs, mixing and matching. He’ll begin with a prototype and work from there, altering as appropriate. ‘I’m very self-critical,’ he says. ‘Sometimes, I’m not satisfied, no matter how long I’ve spent on the piece, and it has to go – though I’ll butcher it to preserve certain items, of course!’ It’s quite satisfying, as often the process entails a certain amount of problem solving. ‘It certainly isn’t model-making by numbers!’

            The materials he has used over the years vary. ‘I’ve tried to keep abreast by reading railways magazines.’ Straws and spaghetti might serve as pipes or architectural embellishments; tealeaves mimic ivy, small pieces of Rutland oolite stone and cork can give a faithful reproduction of old stone walls. Care must also be taken regarding the potential danger of adhesive fumes and paint smells.

            In the old days, as if emulating Blue Peter presenters, he used brown sticky paper. Also, he’d utilise poster paints, oil, cardboard, Perspex and lichen. Now, he employs acrylic paint, modern glues, etched brass plates and obtains many of his materials via the Internet. For example, Spanish paints from the Vallejo Company offer over 200 different colours. Websites such as scalelink.co.uk are useful providers of items, such as bricks and stones, providing the scale is right.

            ‘I much prefer to depict real textures you can feel,’ he says. ‘I’m not keen on printed facsimiles of surfaces.’ Some items are only available from specialist suppliers nowadays, such as self-adhesive paving, but given the time and inclination he will make them himself.

            A single building can take from two months to two years from conception to end. In his individual miniature scenes, Roger has to have an eye for transposing – whether that’s trees, post boxes or people – thus moving them to different positions from those depicted in the source photo.

            Like many hobbies, it’s a solitary pursuit. ‘I find working on these models is an antidote to music-making, which is a more social activity.’ While working in the BBC – on their radio music programmes – Roger took a sabbatical and was part of a craft promotion in Japan. Various British craftsmen and women exhibited their talents – jewellery makers and model boat builders, for example. Perhaps not surprisingly, the Japanese were fascinated with miniaturization, watching Roger on the stand as he built a model with the aid of a magnifying glass. Roger sold twenty models and was even commissioned to provide others.

            Some of Roger’s models were displayed in the Savoy Hotel – a row of cottages, a pub and one was bought by Janet Jackson. Roger has been commissioned to replicate existing properties which entails making measurements he can then reduce in scale for his model.

            The amount of detail is quite remarkable, whether that’s a Vernacular arch or Georgian and Victorian buildings from London, completing the scene, an Austin 1934 taxi will be thoroughly appropriate to the era. Street signs and posters are somewhat easier these days, thanks to the computer.

            Often, behind the curtains, furniture can be glimpsed, walls decorated, lights courtesy of fibre optics and LEDs. He’s particularly proud of his pub, the Ruddles Arms with its drinkers inside.

            Roger created a film studio for his son Dominic, who is involved in filmmaking. For his son Miles, he created a pub with a band playing inside. For his granddaughter Sophie he is creating a ladies’ clothing boutique. For a close friend who was a Methodist minister he built a chapel and adjacent manse. Usually, he likes to include two or three figures to represent life and action.

            In effect, these models are slices from reality.

            Still on the drawing board are Victorian shops, a garage, and a ballroom. ‘One day,’ he muses, ‘I’d like to exhibit my collection. One day soon.’

            The theory goes that retirement was supposed to provide more free time, yet Roger is a popular and successful jazz musician and writes for a local newspaper as well. He has just celebrated his seventieth birthday and shows no sign of letting up: ‘I’d like to make models of the houses we’ve lived in – and there are lots! – but I don’t seem to have the time.’

***

Until recently, Roger and Christine played live jazz at El Pescadito restaurant, Mil Palmeras.

R.I.P., Roger.

Writing – research – hypnotism & predictions – psychic-03

 More snippets gleaned from the 1970 book Psychic Discoveries from behind the Iron curtain by

Sheila Ostrander & Lynn Schroeder (1970) this copy 1976.

At the time of writing the book, Russia had serious concerns about China. Chairman Mao ordered the Chinese scientists to research parapsychology. In response, Russia established psi research bases at Vladivostok and Khabarovsk on the disputed Chinese border. (p142) At one time there were about forty cities within the USSR that contained centres where research was being done on paranormal subjects. One of these was Moscow’s Pavlov Institute where secretive research delved into parapsychology… (p152)

Two so-called pseudoscientific subjects discussed here

are acupuncture and hypnotism. The definition of pseudoscience attached to these subjects is questioned by many adherents and beneficiaries.

Hypnotism

Sergei Rachmaninoff’s First Symphony was performed in St Petersburg in 1897 and was unanimously panned, one critic having likened it to a depiction of the ten plagues of Egypt, suggesting it would be admired by the "inmates" of a music conservatory in Hell. The symphony was not performed again in his lifetime.

The composer was devastated and decided never to compose again.

For three years music seemed blocked to his mind.

Distressed by this, his friends suggested he go to a hypnotist, Nikolai Dahl, who was also an amateur musician. 

A daily course of hypnotherapy and psychotherapy brought the music and inspiration back.

Rachmaninoff composed his Second Piano Concerto in C Minor, dedicating it to Dr Dahl. It was a success and his self-worth was revived. (p166)

Superstition in old Russia was as concrete and pernicious as the lice infesting most of the populace. Magic spells, amulets, potions, powders, and counter-hexes were widely considered to be necessities of life. (p251)

Acupuncture

The Soviets had a machine that registered energy flow in the body coincidentally using as checkpoints for its electrodes the acupuncture treatment points, the meridians, where the chi force flows. This machine picked up changes in body energy caused by alterations of consciousness and varying emotional states. (p163)

For decades, China has used acupuncture in open heart surgery, with good effect. A report in 2011 confirmed this too.

Tana learned to use acupuncture needles while on a mission during her first mission (The Singapore Signal, 1965, as yet unreported). Since then she has carried these needles in a pouch on her belt when penetrating enemy territory, and used them in The Prague Papers, 1975 (Crooked Cat Publishing (2014).

Predictions

Baba Vanga (Vanga Dimitrova) was a blind Bulgarian who was actually paid for by the state. She received thousands of callers asking for predictions – and apparently some 80% of these were proved correct…

She died in 1996. Some of her predictions that have yet to happen include (Wikipedia):

1) The 44th President of the United States will be the last US president. As Barak Obama is the 44^th, this is unlikely, though perhaps Trump will somehow make the prophecy happen!

2) Europe will be transformed into an Islamic caliphate and the transformation will be complete in the year 2043. ..

3) Communism will return to Europe and the rest of the world in 2076.

4) There will be a war on Mars in 3005.

 ***

Tana Standish doesn’t go in for predictions, happily. Yet from time to time she experiences flash images that are later perceived to be slicing of future events; no dates, no specific time, just the image, sometimes featuring her, sometimes not. Each adventure tends to feature at least one ‘flash-forward’ image from a mission yet to be transcribed.

Tana Standish can be found in The Prague Papers and TheTehran Text.

End of an era

Jen is stepping down as MD of Cantabile choir in anticipation of ultimately returning to the UK (when we sell the house, of course...)

This last few weeks saw the choir perform to appreciative audiences at two venues: The Casino, Torrevieja and La Siesta Church. Jen's last concerts as MD - going out on a high, as reported in the Costa Blanca News this Friday.

Well done, all concerned!

Cantamus Cantabile – Joy to the World

Last night, Jen’s choir Cantabile performed a programme of songs for the winter season at the nearby La Siesta church. The accompanist on the piano was Nataliya Khomyak, the MD Jennifer.

The weather had been good during the day and the church community had enjoyed a good fete, accompanied by a brass band. So the evening was not too cold at 7pm, the start time. Indeed, the church was almost filled to capacity with an appreciative audience.

They choir began with their theme song, written by Jen some seven years ago – Cantamus Cantabile. No choral concert would be complete without including something by the prolific John Rutter, so they began with his Dancing Day, a traditional Christmas song he arranged. This was followed by Charles Villiers Stanford’s beautiful setting of Mary Coleridge’s short poem: The Blue Bird. Alicia Muddle sang the solo soprano line.

Over a decade ago, when Jen was in a choir in Lee on Solent, one of her fellow choristers was Peter Wilson, who composed a Requiem as well as many other works for their choir. He gave her permission to use his Here’s a Baby, a Christmas song in the Caribbean style.

Here in Spain we’ve met a host of nationalities all who tend to rub along together. So it seemed apt for Jen to feature a piece by Jay Althouse and Sally Albrecht, I am a Small part of the World. Jan Robson sang the soprano solo.

Two solos followed. The first was written by Francesco Durante, who was born in Naples in 1684 and was considered one of the best church composers of his time; he only ever wrote sacred music. His song Virgin May, Fount of Love is a prayer by a sinner who begs for compassion and grace. Margaret Jennings sang this, Vergin Tutto Amor in Italian.

Pat Yardley chose to sing a traditional Russian song with the rather unassuming title of Polka a la Russe; however, she has renamed it more appropriately as The Little Russian Snow Girl, and she sang it unaccompanied.

Following immediately was Andrew Carter’s setting of a traditional French melody, A Maiden Most Gentle.

John Rutter’s Distant Land was next. Among his hundreds of works are carols, choral pieces, anthems, a Requiem, a Magnificat, a Mass to the Beatles, no less, and a concerto.

American composer John Peterson, as prolific as Rutter, has written over a thousand songs and 35 Cantatas. From his Christmas Cantata, Born a King, the choir sang Born a King, with Pat Yardley singing the introduction, and this was followed immediately by his Hail to Thee.

 
Two more solos followed: the prayer Ave Maria from Verdi’s Otello, sung by Alicia Muddle, and then La Vergine degli Angeli from Verdi’s La Forza del Destino was sung by Jennifer.

Then the choir sang a piece by American musical director and teacher Michael Clawson, expertly and intriguingly combining two pieces: The First Noel and Pachelbel’s Canon (which has sold over 600,000 copies).

Maintaining the winter ambiance, the choir sang Blow, Blow, Thou Winter Wind by John Purifoy and The Snow, a beautiful piece written by Sir Edward Elgar to words by his wife Alice.

Back in 2008, Jen was asked to write a carol for Cantabile. Quite a task; which part of the Christmas Story should she go for, it’s all so wonderful: the annunciation, no room at the inn, shepherds, ox and ass, wise men, the flight into Egypt? Too hard to choose, so she opted for the whole thing: Nativity!

The concert concluded with Handel’s Joy to the World, also sung by the audience.

There was a retiring collection for the upkeep of the church.

 
An excellent night for all concerned.