Charisma

Jimi Hendrix, Janis Joplin, Ottis Redding, The Who... Forty years later, they jump at you from the screen, in their youthful splendour, in the documentary by P.E. Pennebaker which I just watched for the first time about the Monterey Pop festival. In June 1967, this festival, with the impeccable sound system, neat rows of chairs,  friendly cops and thousands of innocent faces in all their psychedelic bloom was said to have launched the Summer of Love: there they were, the Mammas and the Papas, Simon and Garfunkel and the Jefferson Airplane singing their sweet tunes, full of American innocence and good will. But alongside, in sharp contrast,  there was already a deep rumble of agression: Pete Townsend smashing his guitar, and Hendrix setting his on fire, over a thunderous menacing version of Wild Thing, after a little ejaculatory performance with the instrument. And Janis Joplin, above all, singing the blues with an impersonation of despair which would soon become all too real. From Monterey to Altamont, only two years elapsed, but a what a difference did they make.

The Blue Danube

While Germany brooded, Austria danced. In the gilded ballrooms of Vienna, smart officers in uniform made white clad young women spin, swirl and swoon to the tunes of the Strauss brothers. All the refined charm, jollity and gallantry of the Habsburg empire are contained in the Viennese waltz. Nietzche said: (I will quote the French translation) "Mais cette musique me semble parfaite. Elle s'avance, légère, souple, polie. Elle est aimable, elle ne transpire pas. 'Ce qui est bon est léger. Tout ce qui est divin marche d'un pied délicat': premier principe de mon esthétique". He was famously talking about Bizet. But aren't these words equally suited to Johan Strauss?

Antonio Lobo Antunes

Word by word, sentence by sentence, António Lobo Antunes is a great writer. He catches like no one else the flavour of the spoken word, his prose is full of gripping metaphors, he can be wonderfully funny and sardonic. And yet, I doubt whether he is great novelist. His novels lack structure and plot, the story line is weak and the unfortunate result is the reader's boredom. He seems to me a self-indulgent writer, who loses himself in the voluptuousness of style. His characters move in a haze of unbridled stream of consciousness from which an action rarely emerges. Although his vision of Portugal can be ferocious, his characters often seem oddly sentimental, especially when they are full of despair. It seems as if this scion of the "haute bourgeoisie" is endlessly fascinated by the "petite bourgeoisie". His whole novelistic world is made of bitterness and frustration, his characters are always constrained by a hostile, morose and petty social reality.  Is Portugal really like this?

Tristan and Isolde

My friend João Pedro Garcia, who is a devout opera buff and spends his weekends travelling the world to catch the very best performances, invited me and my wife, as a wedding present, to join him in Milan for Tristan and Isolde, with Daniel Barenboim in the podium and "mise en scène" by Patrice Chéreau. I, who like to spend my weekends at home, had often wondered how he could withstand the strain of so much travelling after a hard workweek. Now I think I understand a little better. Opera at this level is consoling, overwhelming, elating - I am short of adverbs for describing the deep emotional and artistic satisfaction I took in this show. For hours, I sat entranced, watching the slow build up of each act to its powerful climax, sometimes moved to tears by the drama. Everything fell together, the music and the action fused in a seamless whole, just as Wagner had intended it. This is, indeed, the only way to enjoy Wagner: in the theater. And as I left La Scala, it occurred to me that never since the Greeks invented the tragedy had anything been created for the stage  with the same capacity to move an audience as a Wagner opera.

Checking out Alban Berg

Driving back and forth between Vallvidrera and the Eixample, I listen to Alban Berg. Berg's lyricism, his anguished expressionism, put him squarely in the great German classical tradition, reinvented by the Viennese school. But this music does not renew this tradition. Rather it brings it to an end.  It is, literally, a dead end. There is no enjoyment here. There is beauty but no life. There is craft but no wit. The great master was Stravinsky, not Schoenberg.

Bauhaus in Tel Aviv

Tel Aviv, a city which never valued beauty, is revamping itself. Between Bograshov and Allenby, alongside Rothschild Blv, down in Neve Tzedek, the leafy boulevards, with pared down Bauhaus arquitecture, are regaining some of their old flavour. Gleaming white houses, small discreet cafés, little trendy shops amidst fragrant trees and  cool youngsters riding old fashioned bycicles create a relaxed mood which belies the atmosphere of tense expectation and brash invective normally associated with Israel. 

Roberto Bolaño

I bought "Los Detectives Salvages" more out of a feeling of dutifulness than of real interest. Bolaño is being touted as a canonical writer for my generation, especially in the USA, so it is only normal he should be approached with as much curiosity as apprehension and distrust. After letting the book rest for a few weeks, I opened it with diffidence. The first surprise was: Bolaño was... well, he was just plain fun. There was a feeling of recognition, too. I knew, without knowing, what he was talking about and I could touch feel and hear the world he was describing. This novel, set in 1975 Mexico, about a literary movement, called visceral realism, describes a "zeitgeist" that I recognize as my own. It reminds me of the atmosphere in Portugal, when the revolution was raging, both out on the street and inside our marijuana fuelled heads... But wait, this is fun, but it can also be moving. And, as it goes on and on, ever deeper into this aimless, random, intense world of obscure poets, it becomes ever more intriguing. What is going on here, one asks... What does this mean, in literary terms? Can the critics please decipher this and explain why it is great? It is a shimmering text, full of echoes and voices, rough and ready, tender and beautiful. So, one keeps reading, and reading...  

Philip Roth's last novel

Philip Roth's last novel, Indignation, is, as usual, seamless, fluid, perfectly accomplished. The setting is familiar and so are the themes - sexual transgression, individual freedom set against social constraints, coming of age, the emancipation of american jews in the 1950's -  but Roth manages nevertheless to captivate and hold the reader's attention with his perfect technique and his continuing capacity for ferocity. 

French cuisine on the skids

A recent weekend in Paris with my son David confirmed certain dismal impressions that previous visits to France had produced. Paris still looks great, the museums and the shops are wonderful but gone are the days when one went to France to eat well and shop for books. Unless you go to the very posh restaurants, the food now in Paris is tired and expensive fare, poorly done and poorly presented. Nothing is new or exciting: everywhere you find the same old recipes indifferently done. Forget the bookshops, too. I spent two nights carefully combing "l´Écume des Pages" and "la Hune" in the Boulevard St-Germain, two fashionable bookstores next to Café de Flore and Deux Magots, that are open until midnight. Quite apart from the tiresome presentation of french books, which has not changed in several generations - white and only white covers - nothing seems to catch one's eye or arouse one's interest. Foucault, Barthes, Lévy Strauss, to name just some my favorites, are gone and no one seems to have taken their place. Not to speak, of course, of the newspapers: flimsy Libération, dour Le Figaro, and of course, Le Monde, easily the most boring newspaper in the world.

Body of Lies

Body of Lies, the new film by Riddley Scott, a spy thriller set in the Middle East, is aptly titled: it does not contain a grain of truth. It rings false at every turn, except when it shows the smart new technology that allows the CIA to peep down from the skies into the dingiest holes. There are no thrills and no emotions in this movie. Everything seems packaged for an american audience and the politically correct lessons conveyed are obvious and trite. It's expensive, it's slick, it's shot in great locations, but it's eminently forgettable. 

GF Ballard

I took a break from the financial crisis to read JG Ballard's autobiography, "Miracles of Life", a recommendation from my friend Victor Pimstein. Who is JG Ballard? American, so I thought, or British, as it turned out? Young or old? What else had he written? I approached the book with a blank mind and proceeded to race through it, totally caught up in his story, which starts in Shangai in 1930, proceeds to England in the grim afterwar years and ends now, in the hospital ward. With deft touches and sly humour, in a wonderfully direct and unaffected style, Ballard brings to life cosmopolitan Shangai before the war ("a city 90% chinese and 100% americanized"), the internment camp where he spent part of his adolescence, where he was close to his parents as never before and  yet drifted away from them, his return to England, where "everything was rationed", including "hope itself", his career as a writer, which he approached from a slightly weird angle which brought him eventual success.  Writing of the 1950's, he says: "already I sensed that a new kind of popular culture was emerging that played on the latent psychopathy of its audiences, and in fact needed to elicit that strain of psychopathy if it was to work". Hence Crash, the Atrocity Exhibition, the Drowned World, some of the books that made his reputation. At 77, saner than any of us, Ballard tells his story as he prepares to die. It's moving, it's enthralling, it's great. 

Siegfried at São Carlos

Teatro Nacional de São Carlos, Lisbon's wonderful XVIIIth century opera house, is staging a great new production of the Ring cycle by Graham Vick. This year it was Siegfried's turn. Graham Vick presents the Ring in a kind of comic book style which, at its best, is witty instead of silly something  seldom achieved by the numerous attempts to transfer to our day and age classic opera plots. (Peter Sellar's great D.Giovanni, set in the Bronx, is another exception). Personally, I found Siegfried himself, that curious mixture of adolescent bully and idealistic hero, not entirely convincing. But this is no more than a detail, albeit an important one, in what can be considered on the whole a triumph. A sure sign of success: the hours passed effortlessly and at the end the feeling was of anticipation for Gottardamerung.