where vision leads

“My vision of painting,” Auerbach once said, “was of an explosion.”

From here (the guardian)

Grave carved winged hour glass in a grave yard in Impington, Cambs.

I went out painting landscape in Kent once (with Stephen Palmer) probably hmm 2012? From my perspective it was a disaster – I found it impossible to focus on any one thing – the landscape was a sprawl of incomplete forms blending together in incomprehensible variations. My drawings were a mess. The wind, the temperatures, and the noise kept me in a permanent state of distraction.

It reminds me of a television programme on landscape painting I once watched. The person narrating (I forget who) discusses a painting (I forget whose) in awed tones as they had painted ‘every single leaf’ on a tree. It filled me with a sort of existential horror. Wasteful. To me it seemed wasteful. Devotion to accounting details.

To organise, to apply design to landscape was uh daunting. Practice was the obvious solution. But the sensory overload was too much… I left it alone until imaginative forms of landscape insistently kept emerging in my work.

oil on reclaimed wood, 260 x 970 x 20 mm, 2013

The walks I had been making across London were bleeding into all my thinking and painting. I would walk from New Cross, where I lived to Charing Cross, where I worked – and then back again. Not that the job survived long after I began that process.

Then and again, I resumed those earlier studies, over a decade later but keeping myself to short sketches.

Pencil on paper, a3 sketchbook, 2022.

The more recent attempts to tackle landscape gave up similar results. But I can see elements I can bring out. I can break up the shapes and how I relate them to each other. Chaotic still – and my immediate responses are retained. Moving line work into painting – then musing on the other ways plantlife can be depicted.

Mixed media on paper, A3ish, 2023

Still there’re so much more things to work with. The photo of the winged hourglass is a small, rather wonderful example of landscape

strike

I was on strike today – following the advice of our union ‘Unite’ – a decent turnout of members voted in favour of the motion and this is the first of four days. Due to the demands of my studies I can join the picket line two out of four days. I’ll try and pop by and say “hello” on the other days. Uhm I’m tired. I’m happy we’re doing it. Pay rises need to rise keeping pace with costs of living – or at least inflation.

I don’t hear much conversation happening around the labour movement, and I think we’re consistently hitting new lows in working conditions, access to education, healthcare, quality of life, healthy food, and access to housing – especially housing. While pay divides have been getting higher and higher. Since the eighties these things have gotten drastically worse but over the last ten years media and political conversations on poverty have been apathetic or ghoulish at best – mocking and bullying commonly. Counter-arguments are few and often posed as provocations. & yet… disentangling disingenuous or stupid or malicious arguments feels like a waste of lifespan; because there’s so little of it, so it’s oppositional – so it’s unreasonable (a particularly English problem I think & one that’s fuckin us). The labour movement is essential to any discussion on equality – it is unfinished – and is needed in these crazy times. Equality seems to be something we all – uh – aspire to? Certainly artists, HR departments and academics can agree with activists that it’s an aspiration worth having. So many arguments become moot once poverty strips you down to one dense manky clump of wriggly nerve endings.

Most of our politicians should be tarred, feathered and defenestrated – their contempt for the rest of us is palpable. The money they take at our expense- for themselves, for their peers – is obscene.

Since the transformation of art colleges, since the dismantling of the welfare state, since the death of squatting, and since most low pay work has become impossible to live on and casual work has more or less disappeared art has gradually returned to being the province of the well off. It can be as intersectional as you like but the culture will be manifestly out of reach from anyone wishing to create their own paths or devise their own mini arts world. The need to make cold hard cash as quickly as possible while participating in ‘creative industry’ will always prioritise assimilating into the monied cultures rather than pursuing experimentation or explicating unpalatable truthes or marking out alternative narratives. Anything without a very simple, vague or bland narrative will not be much more than a brief blip in the information streams. Creepy kitsch seems to be the manifest aesthetic (that may just be Cambridge) but aesthetics are no longer debatable….

>we are just prawns to the financial sector<

Here’s a picture of a German lady peasant about to stick her finger in a chickens’ arsehole (a drawing executed of table porcelain ~ poverty tourism ~ creepy kitsch):

Pencil on paper, a5 sketchbook — I came to this manner of drawing so I could apply it to anything and everything – probably my main influence is Asgor Jorn – with it I can draw something I dislike without having to stare at it long. Draw out the ridiculous. Hah. The sketches are very quick; often not thirty seconds.

The Secret Agent A Simple Tale by Joseph Conrad [excerpt]

He walked along a passage lighted by a lonely gas-jet, then up a flight of winding stairs, and through a glazed and cheerful corridor on the first floor. The footman threw open a door, and stood aside. The feet of Mr Verloc felt a thick carpet. The room was large, with three windows; and a young man with a shaven, big face, sitting in a roomy arm-chair before a vast mahogany writing-table, said in French to the Chancelier d’Ambassade, who was going out with the papers in his hand:

“You are quite right, mon cher. He’s fat—the animal.”

Mr Vladimir, First Secretary, had a drawing-room reputation as an agreeable and entertaining man. He was something of a favourite in society. His wit consisted in discovering droll connections between incongruous ideas; and when talking in that strain he sat well forward of his seat, with his left hand raised, as if exhibiting his funny demonstrations between the thumb and forefinger, while his round and clean-shaven face wore an expression of merry perplexity.

But there was no trace of merriment or perplexity in the way he looked at Mr Verloc. Lying far back in the deep arm-chair, with squarely spread elbows, and throwing one leg over a thick knee, he had with his smooth and rosy countenance the air of a preternaturally thriving baby that will not stand nonsense from anybody.

“You understand French, I suppose?” he said.

Mr Verloc stated huskily that he did. His whole vast bulk had a forward inclination. He stood on the carpet in the middle of the room, clutching his hat and stick in one hand; the other hung lifelessly by his side. He muttered unobtrusively somewhere deep down in his throat something about having done his military service in the French artillery. At once, with contemptuous perversity, Mr Vladimir changed the language, and began to speak idiomatic English without the slightest trace of a foreign accent.

“Ah! Yes. Of course. Let’s see. How much did you get for obtaining the design of the improved breech-block of their new field-gun?”

“Five years’ rigorous confinement in a fortress,” Mr Verloc answered unexpectedly, but without any sign of feeling.

“You got off easily,” was Mr Vladimir’s comment. “And, anyhow, it served you right for letting yourself get caught. What made you go in for that sort of thing—eh?”

Mr Verloc’s husky conversational voice was heard speaking of youth, of a fatal infatuation for an unworthy—

“Aha! Cherchez la femme,” Mr Vladimir deigned to interrupt, unbending, but without affability; there was, on the contrary, a touch of grimness in his condescension. “How long have you been employed by the Embassy here?” he asked.

“Ever since the time of the late Baron Stott-Wartenheim,” Mr Verloc answered in subdued tones, and protruding his lips sadly, in sign of sorrow for the deceased diplomat. The First Secretary observed this play of physiognomy steadily.

“Ah! ever since. Well! What have you got to say for yourself?” he asked sharply.

Mr Verloc answered with some surprise that he was not aware of having anything special to say. He had been summoned by a letter—And he plunged his hand busily into the side pocket of his overcoat, but before the mocking, cynical watchfulness of Mr Vladimir, concluded to leave it there.

“Bah!” said that latter. “What do you mean by getting out of condition like this? You haven’t got even the physique of your profession. You—a member of a starving proletariat—never! You—a desperate socialist or anarchist—which is it?”

“Anarchist,” stated Mr Verloc in a deadened tone.

“Bosh!” went on Mr Vladimir, without raising his voice. “You startled old Wurmt himself. You wouldn’t deceive an idiot. They all are that by-the-by, but you seem to me simply impossible. So you began your connection with us by stealing the French gun designs. And you got yourself caught. That must have been very disagreeable to our Government. You don’t seem to be very smart.”

Mr Verloc tried to exculpate himself huskily.

“As I’ve had occasion to observe before, a fatal infatuation for an unworthy—”

Mr Vladimir raised a large white, plump hand. “Ah, yes. The unlucky attachment—of your youth. She got hold of the money, and then sold you to the police—eh?”

The doleful change in Mr Verloc’s physiognomy, the momentary drooping of his whole person, confessed that such was the regrettable case. Mr Vladimir’s hand clasped the ankle reposing on his knee. The sock was of dark blue silk.

“You see, that was not very clever of you. Perhaps you are too susceptible.”

Mr Verloc intimated in a throaty, veiled murmur that he was no longer young.

“Oh! That’s a failing which age does not cure,” Mr Vladimir remarked, with sinister familiarity. “But no! You are too fat for that. You could not have come to look like this if you had been at all susceptible. I’ll tell you what I think is the matter: you are a lazy fellow. How long have you been drawing pay from this Embassy?”

“Eleven years,” was the answer, after a moment of sulky hesitation. “I’ve been charged with several missions to London while His Excellency Baron Stott-Wartenheim was still Ambassador in Paris. Then by his Excellency’s instructions I settled down in London. I am English.”

“You are! Are you? Eh?”

“A natural-born British subject,” Mr Verloc said stolidly. “But my father was French, and so—”

“Never mind explaining,” interrupted the other. “I daresay you could have been legally a Marshal of France and a Member of Parliament in England—and then, indeed, you would have been of some use to our Embassy.”

This flight of fancy provoked something like a faint smile on Mr Verloc’s face. Mr Vladimir retained an imperturbable gravity.

“But, as I’ve said, you are a lazy fellow; you don’t use your opportunities. In the time of Baron Stott-Wartenheim we had a lot of soft-headed people running this Embassy. They caused fellows of your sort to form a false conception of the nature of a secret service fund. It is my business to correct this misapprehension by telling you what the secret service is not. It is not a philanthropic institution. I’ve had you called here on purpose to tell you this.”

Mr Vladimir observed the forced expression of bewilderment on Verloc’s face, and smiled sarcastically.

“I see that you understand me perfectly. I daresay you are intelligent enough for your work. What we want now is activity—activity.”

On repeating this last word Mr Vladimir laid a long white forefinger on the edge of the desk. Every trace of huskiness disappeared from Verloc’s voice. The nape of his gross neck became crimson above the velvet collar of his overcoat. His lips quivered before they came widely open.

“If you’ll only be good enough to look up my record,” he boomed out in his great, clear oratorical bass, “you’ll see I gave a warning only three months ago, on the occasion of the Grand Duke Romuald’s visit to Paris, which was telegraphed from here to the French police, and—”

“Tut, tut!” broke out Mr Vladimir, with a frowning grimace. “The French police had no use for your warning. Don’t roar like this. What the devil do you mean?”

With a note of proud humility Mr Verloc apologised for forgetting himself. His voice,—famous for years at open-air meetings and at workmen’s assemblies in large halls, had contributed, he said, to his reputation of a good and trustworthy comrade. It was, therefore, a part of his usefulness. It had inspired confidence in his principles. “I was always put up to speak by the leaders at a critical moment,” Mr Verloc declared, with obvious satisfaction. There was no uproar above which he could not make himself heard, he added; and suddenly he made a demonstration.

“Allow me,” he said. With lowered forehead, without looking up, swiftly and ponderously he crossed the room to one of the French windows. As if giving way to an uncontrollable impulse, he opened it a little. Mr Vladimir, jumping up amazed from the depths of the arm-chair, looked over his shoulder; and below, across the courtyard of the Embassy, well beyond the open gate, could be seen the broad back of a policeman watching idly the gorgeous perambulator of a wealthy baby being wheeled in state across the Square.

“Constable!” said Mr Verloc, with no more effort than if he were whispering; and Mr Vladimir burst into a laugh on seeing the policeman spin round as if prodded by a sharp instrument. Mr Verloc shut the window quietly, and returned to the middle of the room.

“With a voice like that,” he said, putting on the husky conversational pedal, “I was naturally trusted. And I knew what to say, too.”

Mr Vladimir, arranging his cravat, observed him in the glass over the mantelpiece.

“I daresay you have the social revolutionary jargon by heart well enough,” he said contemptuously. “Vox et. . . You haven’t ever studied Latin—have you?”

“No,” growled Mr Verloc. “You did not expect me to know it. I belong to the million. Who knows Latin? Only a few hundred imbeciles who aren’t fit to take care of themselves.”

For some thirty seconds longer Mr Vladimir studied in the mirror the fleshy profile, the gross bulk, of the man behind him. And at the same time he had the advantage of seeing his own face, clean-shaved and round, rosy about the gills, and with the thin sensitive lips formed exactly for the utterance of those delicate witticisms which had made him such a favourite in the very highest society. Then he turned, and advanced into the room with such determination that the very ends of his quaintly old-fashioned bow necktie seemed to bristle with unspeakable menaces. The movement was so swift and fierce that Mr Verloc, casting an oblique glance, quailed inwardly.

“Aha! You dare be impudent,” Mr Vladimir began, with an amazingly guttural intonation not only utterly un-English, but absolutely un-European, and startling even to Mr Verloc’s experience of cosmopolitan slums. “You dare! Well, I am going to speak plain English to you. Voice won’t do. We have no use for your voice. We don’t want a voice. We want facts—startling facts—damn you,” he added, with a sort of ferocious discretion, right into Mr Verloc’s face.

“Don’t you try to come over me with your Hyperborean manners,” Mr Verloc defended himself huskily, looking at the carpet. At this his interlocutor, smiling mockingly above the bristling bow of his necktie, switched the conversation into French.

“You give yourself for an ‘agent provocateur.’ The proper business of an ‘agent provocateur’ is to provoke. As far as I can judge from your record kept here, you have done nothing to earn your money for the last three years.”

“Nothing!” exclaimed Verloc, stirring not a limb, and not raising his eyes, but with the note of sincere feeling in his tone. “I have several times prevented what might have been—”

“There is a proverb in this country which says prevention is better than cure,” interrupted Mr Vladimir, throwing himself into the arm-chair. “It is stupid in a general way. There is no end to prevention. But it is characteristic. They dislike finality in this country. Don’t you be too English. And in this particular instance, don’t be absurd. The evil is already here. We don’t want prevention—we want cure.”

He paused, turned to the desk, and turning over some papers lying there, spoke in a changed business-like tone, without looking at Mr Verloc.

“You know, of course, of the International Conference assembled in Milan?”

Mr Verloc intimated hoarsely that he was in the habit of reading the daily papers. To a further question his answer was that, of course, he understood what he read. At this Mr Vladimir, smiling faintly at the documents he was still scanning one after another, murmured “As long as it is not written in Latin, I suppose.”

“Or Chinese,” added Mr Verloc stolidly.

“H’m. Some of your revolutionary friends’ effusions are written in a charabia every bit as incomprehensible as Chinese—” Mr Vladimir let fall disdainfully a grey sheet of printed matter. “What are all these leaflets headed F. P., with a hammer, pen, and torch crossed? What does it mean, this F. P.?” Mr Verloc approached the imposing writing-table.

“The Future of the Proletariat. It’s a society,” he explained, standing ponderously by the side of the arm-chair, “not anarchist in principle, but open to all shades of revolutionary opinion.”

“Are you in it?”

“One of the Vice-Presidents,” Mr Verloc breathed out heavily; and the First Secretary of the Embassy raised his head to look at him.

“Then you ought to be ashamed of yourself,” he said incisively. “Isn’t your society capable of anything else but printing this prophetic bosh in blunt type on this filthy paper eh? Why don’t you do something? Look here. I’ve this matter in hand now, and I tell you plainly that you will have to earn your money. The good old Stott-Wartenheim times are over. No work, no pay.”

Mr Verloc felt a queer sensation of faintness in his stout legs. He stepped back one pace, and blew his nose loudly.

He was, in truth, startled and alarmed. The rusty London sunshine struggling clear of the London mist shed a lukewarm brightness into the First Secretary’s private room; and in the silence Mr Verloc heard against a window-pane the faint buzzing of a fly—his first fly of the year—heralding better than any number of swallows the approach of spring. The useless fussing of that tiny energetic organism affected unpleasantly this big man threatened in his indolence.

In the pause Mr Vladimir formulated in his mind a series of disparaging remarks concerning Mr Verloc’s face and figure. The fellow was unexpectedly vulgar, heavy, and impudently unintelligent. He looked uncommonly like a master plumber come to present his bill. The First Secretary of the Embassy, from his occasional excursions into the field of American humour, had formed a special notion of that class of mechanic as the embodiment of fraudulent laziness and incompetency.

This was then the famous and trusty secret agent, so secret that he was never designated otherwise but by the symbol [delta] in the late Baron Stott-Wartenheim’s official, semi-official, and confidential correspondence; the celebrated agent [delta], whose warnings had the power to change the schemes and the dates of royal, imperial, grand ducal journeys, and sometimes caused them to be put off altogether! This fellow! And Mr Vladimir indulged mentally in an enormous and derisive fit of merriment, partly at his own astonishment, which he judged naive, but mostly at the expense of the universally regretted Baron Stott-Wartenheim. His late Excellency, whom the august favour of his Imperial master had imposed as Ambassador upon several reluctant Ministers of Foreign Affairs, had enjoyed in his lifetime a fame for an owlish, pessimistic gullibility. His Excellency had the social revolution on the brain. He imagined himself to be a diplomatist set apart by a special dispensation to watch the end of diplomacy, and pretty nearly the end of the world, in a horrid democratic upheaval. His prophetic and doleful despatches had been for years the joke of Foreign Offices. He was said to have exclaimed on his deathbed (visited by his Imperial friend and master): “Unhappy Europe! Thou shalt perish by the moral insanity of thy children!” He was fated to be the victim of the first humbugging rascal that came along, thought Mr Vladimir, smiling vaguely at Mr Verloc.

“You ought to venerate the memory of Baron Stott-Wartenheim,” he exclaimed suddenly.

The lowered physiognomy of Mr Verloc expressed a sombre and weary annoyance.

“Permit me to observe to you,” he said, “that I came here because I was summoned by a peremptory letter. I have been here only twice before in the last eleven years, and certainly never at eleven in the morning. It isn’t very wise to call me up like this. There is just a chance of being seen. And that would be no joke for me.”

Mr Vladimir shrugged his shoulders.

“It would destroy my usefulness,” continued the other hotly.

“That’s your affair,” murmured Mr Vladimir, with soft brutality. “When you cease to be useful you shall cease to be employed. Yes. Right off. Cut short. You shall—” Mr Vladimir, frowning, paused, at a loss for a sufficiently idiomatic expression, and instantly brightened up, with a grin of beautifully white teeth. “You shall be chucked,” he brought out ferociously.

Once more Mr Verloc had to react with all the force of his will against that sensation of faintness running down one’s legs which once upon a time had inspired some poor devil with the felicitous expression: “My heart went down into my boots.” Mr Verloc, aware of the sensation, raised his head bravely.

Mr Vladimir bore the look of heavy inquiry with perfect serenity.

“What we want is to administer a tonic to the Conference in Milan,” he said airily. “Its deliberations upon international action for the suppression of political crime don’t seem to get anywhere. England lags. This country is absurd with its sentimental regard for individual liberty. It’s intolerable to think that all your friends have got only to come over to—”

“In that way I have them all under my eye,” Mr Verloc interrupted huskily.

“It would be much more to the point to have them all under lock and key. England must be brought into line. The imbecile bourgeoisie of this country make themselves the accomplices of the very people whose aim is to drive them out of their houses to starve in ditches. And they have the political power still, if they only had the sense to use it for their preservation. I suppose you agree that the middle classes are stupid?”

Mr Verloc agreed hoarsely.

“They are.”

“They have no imagination. They are blinded by an idiotic vanity. What they want just now is a jolly good scare. This is the psychological moment to set your friends to work. I have had you called here to develop to you my idea.”

And Mr Vladimir developed his idea from on high, with scorn and condescension, displaying at the same time an amount of ignorance as to the real aims, thoughts, and methods of the revolutionary world which filled the silent Mr Verloc with inward consternation. He confounded causes with effects more than was excusable; the most distinguished propagandists with impulsive bomb throwers; assumed organisation where in the nature of things it could not exist; spoke of the social revolutionary party one moment as of a perfectly disciplined army, where the word of chiefs was supreme, and at another as if it had been the loosest association of desperate brigands that ever camped in a mountain gorge. Once Mr Verloc had opened his mouth for a protest, but the raising of a shapely, large white hand arrested him. Very soon he became too appalled to even try to protest. He listened in a stillness of dread which resembled the immobility of profound attention.

“A series of outrages,” Mr Vladimir continued calmly, “executed here in this country; not only planned here—that would not do—they would not mind. Your friends could set half the Continent on fire without influencing the public opinion here in favour of a universal repressive legislation. They will not look outside their backyard here.”

Mr Verloc cleared his throat, but his heart failed him, and he said nothing.

“These outrages need not be especially sanguinary,” Mr Vladimir went on, as if delivering a scientific lecture, “but they must be sufficiently startling—effective. Let them be directed against buildings, for instance. What is the fetish of the hour that all the bourgeoisie recognise—eh, Mr Verloc?”

Mr Verloc opened his hands and shrugged his shoulders slightly.

“You are too lazy to think,” was Mr Vladimir’s comment upon that gesture. “Pay attention to what I say. The fetish of to-day is neither royalty nor religion. Therefore the palace and the church should be left alone. You understand what I mean, Mr Verloc?”

The dismay and the scorn of Mr Verloc found vent in an attempt at levity.

“Perfectly. But what of the Embassies? A series of attacks on the various Embassies,” he began; but he could not withstand the cold, watchful stare of the First Secretary.

“You can be facetious, I see,” the latter observed carelessly. “That’s all right. It may enliven your oratory at socialistic congresses. But this room is no place for it. It would be infinitely safer for you to follow carefully what I am saying. As you are being called upon to furnish facts instead of cock-and-bull stories, you had better try to make your profit off what I am taking the trouble to explain to you. The sacrosanct fetish of to-day is science. Why don’t you get some of your friends to go for that wooden-faced panjandrum—eh? Is it not part of these institutions which must be swept away before the F. P. comes along?”

Mr Verloc said nothing. He was afraid to open his lips lest a groan should escape him.

“This is what you should try for. An attempt upon a crowned head or on a president is sensational enough in a way, but not so much as it used to be. It has entered into the general conception of the existence of all chiefs of state. It’s almost conventional—especially since so many presidents have been assassinated. Now let us take an outrage upon—say a church. Horrible enough at first sight, no doubt, and yet not so effective as a person of an ordinary mind might think. No matter how revolutionary and anarchist in inception, there would be fools enough to give such an outrage the character of a religious manifestation. And that would detract from the especial alarming significance we wish to give to the act. A murderous attempt on a restaurant or a theatre would suffer in the same way from the suggestion of non-political passion: the exasperation of a hungry man, an act of social revenge. All this is used up; it is no longer instructive as an object lesson in revolutionary anarchism. Every newspaper has ready-made phrases to explain such manifestations away. I am about to give you the philosophy of bomb throwing from my point of view; from the point of view you pretend to have been serving for the last eleven years. I will try not to talk above your head. The sensibilities of the class you are attacking are soon blunted. Property seems to them an indestructible thing. You can’t count upon their emotions either of pity or fear for very long. A bomb outrage to have any influence on public opinion now must go beyond the intention of vengeance or terrorism. It must be purely destructive. It must be that, and only that, beyond the faintest suspicion of any other object. You anarchists should make it clear that you are perfectly determined to make a clean sweep of the whole social creation. But how to get that appallingly absurd notion into the heads of the middle classes so that there should be no mistake? That’s the question. By directing your blows at something outside the ordinary passions of humanity is the answer. Of course, there is art. A bomb in the National Gallery would make some noise. But it would not be serious enough. Art has never been their fetish. It’s like breaking a few back windows in a man’s house; whereas, if you want to make him really sit up, you must try at least to raise the roof. There would be some screaming of course, but from whom? Artists—art critics and such like—people of no account. Nobody minds what they say. But there is learning—science. Any imbecile that has got an income believes in that. He does not know why, but he believes it matters somehow. It is the sacrosanct fetish. All the damned professors are radicals at heart. Let them know that their great panjandrum has got to go too, to make room for the Future of the Proletariat. A howl from all these intellectual idiots is bound to help forward the labours of the Milan Conference. They will be writing to the papers. Their indignation would be above suspicion, no material interests being openly at stake, and it will alarm every selfishness of the class which should be impressed. They believe that in some mysterious way science is at the source of their material prosperity. They do. And the absurd ferocity of such a demonstration will affect them more profoundly than the mangling of a whole street—or theatre—full of their own kind. To that last they can always say: ‘Oh! it’s mere class hate.’ But what is one to say to an act of destructive ferocity so absurd as to be incomprehensible, inexplicable, almost unthinkable; in fact, mad? Madness alone is truly terrifying, inasmuch as you cannot placate it either by threats, persuasion, or bribes. Moreover, I am a civilised man. I would never dream of directing you to organise a mere butchery, even if I expected the best results from it. But I wouldn’t expect from a butchery the result I want. Murder is always with us. It is almost an institution. The demonstration must be against learning—science. But not every science will do. The attack must have all the shocking senselessness of gratuitous blasphemy. Since bombs are your means of expression, it would be really telling if one could throw a bomb into pure mathematics. But that is impossible. I have been trying to educate you; I have expounded to you the higher philosophy of your usefulness, and suggested to you some serviceable arguments. The practical application of my teaching interests you mostly. But from the moment I have undertaken to interview you I have also given some attention to the practical aspect of the question. What do you think of having a go at astronomy?”

For sometime already Mr Verloc’s immobility by the side of the arm-chair resembled a state of collapsed coma—a sort of passive insensibility interrupted by slight convulsive starts, such as may be observed in the domestic dog having a nightmare on the hearthrug. And it was in an uneasy doglike growl that he repeated the word:

“Astronomy.”

He had not recovered thoroughly as yet from that state of bewilderment brought about by the effort to follow Mr Vladimir’s rapid incisive utterance. It had overcome his power of assimilation. It had made him angry. This anger was complicated by incredulity. And suddenly it dawned upon him that all this was an elaborate joke. Mr Vladimir exhibited his white teeth in a smile, with dimples on his round, full face posed with a complacent inclination above the bristling bow of his neck-tie. The favourite of intelligent society women had assumed his drawing-room attitude accompanying the delivery of delicate witticisms. Sitting well forward, his white hand upraised, he seemed to hold delicately between his thumb and forefinger the subtlety of his suggestion.

“There could be nothing better. Such an outrage combines the greatest possible regard for humanity with the most alarming display of ferocious imbecility. I defy the ingenuity of journalists to persuade their public that any given member of the proletariat can have a personal grievance against astronomy. Starvation itself could hardly be dragged in there—eh? And there are other advantages. The whole civilised world has heard of Greenwich. The very boot-blacks in the basement of Charing Cross Station know something of it. See?”

The features of Mr Vladimir, so well known in the best society by their humorous urbanity, beamed with cynical self-satisfaction, which would have astonished the intelligent women his wit entertained so exquisitely. “Yes,” he continued, with a contemptuous smile, “the blowing up of the first meridian is bound to raise a howl of execration.”

“A difficult business,” Mr Verloc mumbled, feeling that this was the only safe thing to say.

“What is the matter? Haven’t you the whole gang under your hand? The very pick of the basket? That old terrorist Yundt is here. I see him walking about Piccadilly in his green havelock almost every day. And Michaelis, the ticket-of-leave apostle—you don’t mean to say you don’t know where he is? Because if you don’t, I can tell you,” Mr Vladimir went on menacingly. “If you imagine that you are the only one on the secret fund list, you are mistaken.”

This perfectly gratuitous suggestion caused Mr Verloc to shuffle his feet slightly.

“And the whole Lausanne lot—eh? Haven’t they been flocking over here at the first hint of the Milan Conference? This is an absurd country.”

“It will cost money,” Mr Verloc said, by a sort of instinct.

“That cock won’t fight,” Mr Vladimir retorted, with an amazingly genuine English accent. “You’ll get your screw every month, and no more till something happens. And if nothing happens very soon you won’t get even that. What’s your ostensible occupation? What are you supposed to live by?”

“I keep a shop,” answered Mr Verloc.

“A shop! What sort of shop?”

“Stationery, newspapers. My wife—”

“Your what?” interrupted Mr Vladimir in his guttural Central Asian tones.

“My wife.” Mr Verloc raised his husky voice slightly. “I am married.”

“That be damned for a yarn,” exclaimed the other in unfeigned astonishment. “Married! And you a professed anarchist, too! What is this confounded nonsense? But I suppose it’s merely a manner of speaking. Anarchists don’t marry. It’s well known. They can’t. It would be apostasy.”

“My wife isn’t one,” Mr Verloc mumbled sulkily. “Moreover, it’s no concern of yours.”

“Oh yes, it is,” snapped Mr Vladimir. “I am beginning to be convinced that you are not at all the man for the work you’ve been employed on. Why, you must have discredited yourself completely in your own world by your marriage. Couldn’t you have managed without? This is your virtuous attachment—eh? What with one sort of attachment and another you are doing away with your usefulness.”

Mr Verloc, puffing out his cheeks, let the air escape violently, and that was all. He had armed himself with patience. It was not to be tried much longer. The First Secretary became suddenly very curt, detached, final.

“You may go now,” he said. “A dynamite outrage must be provoked. I give you a month. The sittings of the Conference are suspended. Before it reassembles again something must have happened here, or your connection with us ceases.”

He changed the note once more with an unprincipled versatility.

“Think over my philosophy, Mr—Mr—Verloc,” he said, with a sort of chaffing condescension, waving his hand towards the door. “Go for the first meridian. You don’t know the middle classes as well as I do. Their sensibilities are jaded. The first meridian. Nothing better, and nothing easier, I should think.”

He had got up, and with his thin sensitive lips twitching humorously, watched in the glass over the mantelpiece Mr Verloc backing out of the room heavily, hat and stick in hand. The door closed.

blake iii

After Blake

Of course Blake suffers a lot in representation, he’s invariably the madman more whimsical than genius or the failed commercial artist – key impressions I took from this show. Never is he given full credit as the great philosopher or painter, though the poetry seems better respected than owt else but still this is carefully compartmentalised and the politics are dismissed as utopian gibberish… his was a keen brain, with an open and vigorous intellect, Shakespearean in comprehension – and kind.

Blake was a great philosopher, poet and painter. It’s a joy to see his art on display – & seeing as so much is in public collections it should be available all the time. How about lending out to churches around the country? Many rather beautiful art space were once churches…

[I’d also like to remind everyone he was working class.]

Kes

i read ‘kestrel for a knave’ as a teenager and it went some way to politicising me. as a  scrawny home counties boy it was a ray of frosty light shone across my narrow, introverted, antsy world view. it brought a few questions into focus, questions of my family history and questions of the sharp class distinctions of ‘Thatchers Britain’. i have never been able to watch the film – the book holds a very special place in my heart, though i doubt i will ever re-read it. i sobbed at it’s ending; and i felt justified. and all my basic assumptions seemed to be proven to be without merit. with the benefit of hindsight and with no clarity of memory whatsoever i can offer the observation that it was my first brush with art – the fragile, warm,  plastic, breathing, bird of prey conjured in my imagination – it heated my adolescent soul.

i have had a few epiphanies as an artist, moments when my worldview is shaken, seemingly on the edge of breaking; and i felt my appreciation – and my awe – of the world deepen. some of these epiphanies have been short shocks that resonate throughout my life. ‘kestrel for knave’ was one, it introduced me to social realism (which nourished me for a time, before surrealism took it’s place – to be replaced in turn) and most importantly laid down in the humus of my consciousness the value of working class histories.

my reaction to this thin book was strong, it tweaked at my more sentimental and romantic tendencies and somehow revealed them to be insufficient as responses. i had to change to fully comprehend the novel. transmutation. so i suppose with my imperfect memory and the echoes of my hungry little formative heart; that i had my first inkling of art as an agent for change.

 

 

RIP Barry Hines author of ‘A Kestrel for a Knave’

more on ‘kestrel for a knave’:

p://rs21.org.uk/2016/03/24/kes-a-tale-for-our-times-remembering-barry-hines/

blast and ruin

watercolour & graphite on paper, 110 x 130mm, 2014
watercolour & graphite on paper, 110 x 130mm, 2014

It is we [the workers] who built these palaces and cities, here in Spain and in America and everywhere. We, the workers. We can build others to take their place. And better ones! We are not in the least afraid of ruins. We are going to inherit the earth. There is not the slightest doubt about that. The bourgeoisie might blast and ruin its own world before it leaves the stage of history. We carry a new world here, in our hearts. […] That world is growing in this minute.

Buenaventura Durruti, spoken during the Spanish civil war to Pierre van Paassen.

 

Sanskrit Poem by Amura

Churn water to get your butter,

And squeeze a bit of stone and hope for honey;

Or else your fevered frame perhaps you’d cool,

Washed in the waves of a mirage’s pool?

Perhaps you’d rather try to get a drink

Milking that worn-out she-ass? What do you think?

It’s not so foolish as to earn the money

To live upon, by service to an utter

Knave and fool.

Amura (translated by John Brough)

 

currency

Estragon: What about hanging ourselves?
Vladimir: Hmm. It’d give us an erection.
Estragon: (highly excited). An erection!
Vladimir: With all that follows. Where it falls mandrakes grow. That’s why they shriek when you pull them up. Did you not know that?
Estragon: Let’s hang ourselves immediately!

Samuel Beckett, Waiting for Godot.

pencil and oil pastel on paper(s), 160 x 50 mm 2013
pencil, burning and oil pastel on paper(s), 160 x 50 mm 2013

 

drawn from ‘pound notes

 

running

ESTRAGON: (suddenly furious). Recognize! What is there to recognize? All my lousy life I’ve crawled about in the mud! And you talk to me about scenery! (Looking wildly about him.) Look at this muckheap! I’ve never stirred from it!

VLADIMIR: Calm yourself, calm yourself.

ESTRAGON: You and your landscapes! Tell me about the worms!

Samuel Beckett, Waiting For Godot

pencil and oil pastel on paper(s), 160 x 50 mm 2013
pencil and oil pastel on paper(s), 160 x 50 mm 2013

landscape / politics / currency – all tied together.