‘Heimat, the evocative German word that loosely translates as ‘homeland,’ is a conflicting term for those to whose language it belongs. Since its earlier, predominantly romantic use, conjuring associations with a love for the rolling hills of Bavaria and the lost utopia of childhood, the term’s cultural associations have shifted often. Not least with it’s adoption and distortion by the Third Reich, prior to its subsequent reclamation in the 1950s.
For Thomas Dworzak this “rejection and search for Heimat” has been a pervading influence in his life. While growing up in a small Bavarian town near the Iron Curtain, the photographer felt suffocated by the overbearing “Catholicism, provincialism, order and calm”, eventually leaving as a young man. Today, Dworzak identifies as having three homelands, one in his native Bavaria, the others in Tbilisi and Tehran.”‘
A beautiful as well as thought-provoking photoessay on homelands from a renowned Magnum photographer, whose father at age six was one of three million people expelled from Czechoslovakia in the 1945-6 odsun (“transfer”), one of the worst ethnic cleansings of the last century.
Both images and text are well worth pondering as the clever hopes of a low, dishonest decade expire with Brexit and Trump.
The photo above is mine, taken last month in the UK, about which I have similarly mixed feelings to Dworzak on Bavaria. His images are copyrighted, but there are many on his Magnum site.
“For Roth, literature was not a tool of any description. It was the venerated thing in itself. He loved fiction and (unlike so many half or three-quarter writers) was never ashamed of it. He loved it in its irresponsibility, in its comedy, in its vulgarity, and its divine independence. He never confused it with other things made of words, like statements of social justice or personal rectitude, journalism or political speeches, all of which are vital and necessary for lives we live outside of fiction, but none of which are fiction, which is a medium that must always allow itself, as those other forms often can’t, the possibility of expressing intimate and inconvenient truths.”
Zadie Smith in the New Yorker, by far the best thing I’ve read amid the welter of over-politicized and under-nuanced commentary unleashed by the great man’s death.
Charles Sheeler: Bucks County Barn, 1940
‘Instantly recognizable images dominate “America’s Cool Modernism: O’Keeffe to Hopper,” the surprisingly arresting new show at the Ashmolean Museum in Oxford: Charles Demuth’s magnetic I Saw the Figure Five in Gold (1928), inspired by his friend William Carlos Williams’s poem The Great Figure, in which a fire truck speeds through the streets of New York one rainy night; Georgia O’Keeffe’s breathtakingly chilly East River from the Shelton Hotel (1928), the cool, icy blue of the water slicing through the middle of the canvas, separating the snow-topped roofs in the foreground from the smoke-clouded factory chimneys in the distance; three large Edward Hopper oils, From Williamsburg Bridge (1928), Manhattan Bridge Loop (1928), and Dawn in Pennsylvania (1942), not his most famous work, but nevertheless immediately identifiable …’
Lucy Scholes reviews a new exhibition of ‘the mythologies of an “America” that has long inhabited the popular global imagination, from the towering structures of the archetypal modern metropolis to the rustic barns, uniform fields of corn, and white picket fences of prairie farmland,’ whose images ‘speak to a desire for a sanitized version of reality that tries to master the anxieties and ambivalences associated with modern life.’
Promise was that I/Should Israel from Philistian yoke deliver;/Ask for this great deliverer now, and find him/Eyeless in Gaza at the Mill with slaves … (John Milton, Samson Agonistes)
Borders are conventionally represented as tidy lines on maps. On the ground things get messier. Especially in the case of Palestine–Israel–Gaza.
‘Israel has turned Gaza into an area that is simultaneously separated from and annexed under Israel’s control,’ writes Amjad Iraqi. ‘It is a purgatory designed to provide whatever answer is most convenient for shirking responsibility and justifying violence at any given time. This has obscured a controversial but perhaps inexorable fact: after 51 years, Gaza can hardly be described as “occupied territory” anymore. It is now a segregated, debilitated, and subjugated part of Israel; a replica of the districts, townships, and reservations that imprisoned native populations and communities of color in apartheid South Africa, the United States, and other colonial regimes. In other words, Palestinians are no longer being oppressed outside the Israeli state; they are being caged and brutalized inside it.’
The Polish writer Olga Tokarczuk has won the Man Booker International prize for her novel Flights.
‘“It isn’t a traditional narrative,” said chair of judges Lisa Appignanesi, pointing to Tokarczuk’s own description of her writing as “constellation novels” to describe an author who throws her stories into orbit, allowing her readers to form meaningful shapes from them. “We loved the voice of the narrative – it’s one that moves from wit and gleeful mischief to real emotional texture and has the ability to create character very quickly, with interesting digression and speculation.”
The book’s themes – “the nomadic life that we now lead in the world, with our constant movement, our constant desire to pick up and go, whether it’s from relationships or whether it’s to other countries”, and “the limitedness, the finiteness, the mortality of the human body, which is always pulled towards the ground” – collide in Tokarczuk’s “extraordinary” stories, said Appignanesi.’
For those who fancy a sample, Granta magazine has published Tokarczuk’s masterpiece of black humor “Preserves for Life.”
The English surrealist and documentary filmmaker Humphrey Jennings explained the intellectual project of his book Pandaemonium as to “present, not describe or analyse” the “imaginative history of the Industrial Revolution … by means of what I call Images. These are quotations from writings of the period in question … which either in the writing or in the nature of the matter itself or both have revolutionary and symbolic and illuminatory quality. I mean that they contain in little a whole world—they are the knots in a great net of tangled time and space—the moments at which the situation of humanity is clear—even if only for the flash time of the photographer or the lighting.”
These “snippets” are intended to function in the same way. Click on the headings to go to the original articles, which are mostly from the mainstream aka fake news media.