Literature & Poetry

Total Page:16

File Type:pdf, Size:1020Kb

Literature & Poetry !nspire Literature & poetry Almost two-thirds of the British population regularly reads a book, and literature and poetry now have an elevated profile everywhere from the media to the living room. Literary prizes enjoy burgeoning publicity and attention, literature festivals attract ever-bigger audiences,and the once-endangered art of storytelling is regaining popularity. Nor is it just adults reading avidly babies from just a few months old are given their own free books, while the explosion of interest in J.K. Rowling’s Harry Potter adventures has reawakened the reading habits of children and adults alike. Fiction is in a golden age and there's fine writing out there all over the place” Lisa Jardine, chair of the Man Booker Prize judging panel 2002 In November 2002 the film version in the Black Mountains in Wales of Harry Potter’s second with a population of about 1,300, adventure, the Chamber of Secrets, but a total of 39 bookshops became the fastest-grossing UK (roughly one for every 33 film, beating its predecessor, Harry inhabitants!) For ten days each Potter and the Philosopher’s Stone. May, ever-increasing audiences are In 2001 the Arts Council of England The Chamber of Secrets is the entertained and engaged at about announced a 77% budget increase only British film to have taken 150 events by novelists, poets, for literature between more than £30 million by its children's writers, historians, 2002/03 and 2003/04 second weekend on release. politicians, sportspeople, J.K.Rowling’s series of books have broadcasters, stand-up comics 11-12 year old girls spend an made publishing history, selling and musicians. average of 5 hours a week reading more than 130 million copies books for enjoyment, compared to between 1997 and 2001. ‘The The Man Booker Prize, the most 3.9 hours a week among 11-12 year Philosopher’s Stone’ reaped seven prestigious literary award in the old boys World Book Day UK awards between 1997 and 2001, UK, goes to the best full-length 2002 research starting with the Nestlé Smarties novel in English by a citizen of the Book Prize Gold Medal for the 9 to Commonwealth or the Republic of The number of titles published by 11 age group. Ireland. Yann Martel collected the the UK commercial sector has grown £50,000 prize for 2002’s winning every year from 1997 to 2001, when Education publisher Kumon’s novel, ‘Life Of Pi’, published by it stood at 119,001, a 19% rise over survey of the 100 best children’s Edinburgh-based publisher that five-year period books, published in September Canongate. Started in 1969 with 2002, had Rowling dominant, with almost no public recognition, the Women spend 25 minutes a day ‘The Philosopher's Stone’, ‘Goblet Booker is now certain to raise the reading fiction, rising to 70 minutes of Fire’ and ‘Chamber of Secrets’ profile of the winning author and a day while on holiday Report, Book holding the top three places. But increase sales of the shortlisted Marketing Ltd, May 2002 there was still room for plenty of novels. Previous winners include traditional favourites, with Enid Margaret Atwood, Pat Barker, A S Blyton’s ‘The Famous Five’, Byatt, Roddy Doyle, Kazuo A.A.Milne’s ‘Winnie the Pooh’ and Ishiguro, Ian McEwan, V S Naipaul, Tolkien’s ‘The Lord of the Rings’ Salman Rushdie and David Storey. in the next three places. The judges - themselves a prestigious mix of former Perhaps the most unusual of the government ministers, novelists, UK’s international literary festivals literary editors and academics - is the Guardian Hay Festival. It has choose a shortlist of six novels from taken place each year since 1988 in a total of over 100 entries. Hay-on-Wye, a small market town The Scottish Storytelling Centre in The independent charity Edinburgh was set up in 1996 to BookTrust promotes books and encourage and develop the reading to people of all ages. It traditional art of oral storytelling in manages a number of literary Scotland. It believes that prizes, including the Booker, and storytelling can link the runs reading projects such as generations, as it enables both the Bookstart. This project distributes very young and the elderly to share packs containing free books to and understand their own life parents and carers of babies aged The Guardian Hay Festival experiences. Regular activities seven to nine months, as well as include workshops (including some information on sharing books with for deaf audiences), local babies and library services. storytelling clubs for children and Meanwhile, a scheme to bring poets, dramatists, travel writers or adults, and storyteller visits to books to the breakfast table was writers in any other literary genre schools, libraries, conferences and launched late in 2002, as Puffin for consideration by the judges. arts venues. Books teamed up with breakfast food manufacturers to provide five The Poetry Society, an umbrella The Scottish International titles by best-selling children’s organisation that helps poets and Storytelling Festival is held every authors, adhered to cereal boxes in poetry thrive in Britain today, year in October/November and is plastic cases. organises the UK’s longest running a celebration of indigenous poetry contest, the National Poetry storytelling in an international The DCMS/Wolfson public Competition. Launched in 1978 context. It brings together the libraries challenge fund aims to and now an established hallmark of finest storytellers from home and enhance public libraries’ strength quality, its list of winners includes overseas to perform across in reader development activities, Tony Harrison, Carol Ann Duffy, Edinburgh in venues including the via awards to innovative library Medbh McGuckian, Jo Shapcott Royal Botanic Gardens, the projects around the UK. The fund and Ian Duhig. Awarding £5,000 in Scottish Mining Museum and the made 33 awards in 2000-2001, 2002, the competition not only University of Edinburgh, as well as totalling almost £2 million. reinforces the reputation of in surrounding towns and villages. recognised writers, but over the The David Cohen British Literature years has become renowned for Prize, initiated in 1993, is a lifetime pointing the spotlight on emerging achievement award in recognition new poets, such as 1998’s winner of a living British writer. Previous Caroline Carver. The Poetry winners include Harold Pinter, Society also runs National Poetry Muriel Spark, William Trevor, V.S. Day, a celebration of the art form Naipaul and Doris Lessing. in schools, the media and Members of the public are invited communities nationwide, which to submit names of novelists, short celebrates its 10th anniversary on story writers, essayists, biographers, 9 October 2003. The UK’s biggest annual poetry award is the £10,000 Forward Poetry prize, won late in 2002 by veteran poet Peter Porter (above) for his collection Max Is Missing, published by Picador. Porter had previously won both the Whitbread and Duff Cooper poetry prizes. The Forward prize was presented on the eve of National Poetry Day, which as usual encouraged an imaginative range of events nationwide. The city of Cardiff ‘collectively’ contributed a poem Apples and Snakes, which Researched and written by Paul Sexton described as ‘the world’s first specialises in poetry in communal poem written and performance and education, Designed by Andy Clarke Printed in the UK by Lithgo published by a city’. enjoyed a 525% rise in its Arts Council grant for 2003/04. It runs Picture credits Poet Kevin McCann spent two days some 200 workshops in schools and Peter Dupont a week over six months at Wymott works with about 150 poets Scottish Storytelling Centre prison as part of a residency annually. The independent literary The Guardian Hay Festival, Justine Williams. organised and supported by the press Enitharmon, which Michael Nicholson Poetry Society and the specialises in contemporary poetry, Arts Council of England. Kevin received its first grant for 2003/04. © Crown Copyright discussed different types of It has been instrumental in Published by the Foreign & Commonwealth Office May 2003 poetry and encouraged the group promoting the work of younger of 26 male prisoners to write their poets emerging from the Poetry www.fco.gov.uk own poems. As a result, a poetry School and similar organisations. page was added to the prison Details of other FCO Publications are available from magazine and nearly two hundred www.informationfrombritain.com poems were entered for the Koestler Awards, a national Order number: 30190 competition for creative work among prison inmates. .
Recommended publications
  • Introduction
    Colby Quarterly Volume 38 Issue 3 September Article 3 September 2002 Introduction Douglas Archibald Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 38, no.3, September 2002, pg. 269-279 This Front Matter is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Archibald: Introduction Introduction By DOUGLAS ARCHIBALD s HOLMES FAMOUSLY REMARKED, the curious incident is that the dogs are A not barking. Why has the Irish Studies establishment made so little of William Trevor? Nothing in Terry Eagleton. Nothing in W.J. McCormack, even though he writes about almost everything. Nothing in David Lloyd in spite of a well-informed interest in fiction. Nothing in Margot Backus's The Gothic Family Romance: Heterosexuality, Child Sacrifice, and the Anglo-Irish Colonial Order (1999), a Texas thesis become a Duke book which-aside from the required, lurid glow of the title-sounds like a book about Trevor. Nothing in Sex, Nation, and Dissent in Irish Literature (1997), or Representing Ireland: Gender, Class, Nationality (1997), or Decolonisation and Criticism: The Construction ofIrish Literature (1998), or New Voices in Irish Criticism (2000). Nothing in the Irish University Review special issue on "Contemporary Irish Fiction" (Spring/Summer 2000). Little on the program in recent meetings of ACIS or IASIL. Hardly any mention in the summer schools. Seamus Deane and Declan Kiberd are silent, except in their comprehensive literary histories, in which mention is unavoidable, and even then Kiberd is perfunctory: Both [Brian] Moore and Trevor are rightly renowned for the cool, crafted clarity of their prose, their wry wistful ironies, and their use of telling detail; and each has won a substantial overseas readership for many other books of high quality which have nothing to do with Ireland.
    [Show full text]
  • Fragmentation and Vulnerability in Anne Enright´S the Green Road (2015): Collateral Casualties of the Celtic Tiger in Ireland
    International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes Fragmentation and vulnerability in Anne Enright´s The Green Road (2015): Collateral casualties of the Celtic Tiger in Ireland MARIA AMOR BARROS-DEL RÍO* Universidad de Burgos (Spain) Received: 14/12/2016. Accepted: 26/05/2017. ABSTRACT This article explores the representation of family and individuals in Anne Enright's novel The Green Road (2015) by engaging with Bauman's sociological category of “liquid modernity” (2000). In The Green Road, Enright uses a recurrent topic, a family gathering, to observe the multiple forms in which particular experiences seem to have suffered a process of fragmentation during the Celtic Tiger period. A comprehensive analysis of the form and plot of the novel exposes the ideological contradictions inherent in the once hegemonic notion of Irish family and brings attention to the different forms of individual vulnerability, aging in particular, for which Celtic Tiger Ireland has no answer. KEYWORDS: Anne Enright, The Green Road, Ireland, contemporary fiction, Celtic Tiger, mobility, fragmentation, vulnerability, aging. 1. INTRODUCTION Ireland's central decades of the 20th century featured a nationalism characterized by self- sufficiency and a marked protectionist policy. This situation changed in the 1960s and 1970s when external cultural influences through the media, growing flows of migration and economic transformations initiated by the government, together with the weakening of the Welfare State, progressively transformed a rural new-born country into an international _____________________ *Address for correspondence: María Amor Barros-del Río. Departamento de Filología. Facultad de Humanidades y Comunicación. Paseo de los Comendadores s/n.
    [Show full text]
  • New Writing from Ireland
    New Writing from Ireland Promoting Irish Literature Abroad Fiction | 1 NEW WRITING FROM ireLAND 2013 This is a year of new beginnings – Ireland first published 2013 Impac Award-winner Literature Exchange has moved offices Kevin Barry’s collection, There Are Little and entered into an exciting partnership Kingdoms in 2007, offers us stories from with the Centre for Literary Translation at Colin Barrett. Trinity College, Dublin. ILE will now have more space to host literary translators from In the children and young adult section we around the world and greater opportunities have debut novels by Katherine Farmar and to organise literary and translation events Natasha Mac a’Bháird and great new novels in co-operation with our partners. by Oisín McGann and Siobhán Parkinson. Writing in Irish is also well represented and Regular readers of New Writing from Ireland includes Raic/Wreck by Máire Uí Dhufaigh, will have noticed our new look. We hope a thrilling novel set on an island on the these changes make our snapshot of Atlantic coast. contemporary Irish writing more attractive and even easier to read! Poetry and non-fiction are included too. A new illustrated book of The Song of Contemporary Irish writing also appears Wandering Aengus by WB Yeats is an exciting to be undergoing a renaissance – a whole departure for the Futa Fata publishing house. 300 pp range of intriguing debut novels appear Leabhar Mór na nAmhrán/The Big Book of this year by writers such as Ciarán Song is an important compendium published Collins, Niamh Boyce, Paul Lynch, Frank by Cló Iar-Chonnacht.
    [Show full text]
  • Iwas Lucky to Be in London in May and Catch
    The Scream REBECCA NEMSER I was lucky to be in London in May and catch Fram , Tony Harrison’s latest play,* in its short but spectacu - lar run at the Olivier Theatre at London’s National Theatre. The play, all in rhyming verse, begins in Westminster Abbey, with moonlight shining through the stained glass of the great Rose Window, casting a reflection of Aeschylus on the cold stone floor. In walks the ghost of Gilbert Murray (Jeff Rawle), rising up from his grave and carrying a tragic mask. Murray, the early-twentieth-century Oxford professor and classicist, was also a humanitarian, deeply involved in the League of Nations and the United Nations and co-founder of Oxfam. But since his death fifty years ago, his once-admired verse translations of Aeschylus and Euripides have been scorned, and the world he tried to save has been ravaged by even more unimaginable horrors. So instead of decomposing in his urn, he has spent his afterlife composing this play. He calls up the spirit of Sybil Thorndike (Sian Thomas, as splendid as the character she plays), the actress who tri - umphed on the London stage as Clytemnestra, Hecuba, and Medea in Murray’s once wildly popular versions, and whisks her off to the Olivier stalls of the National Theatre—for Fram is not just a play within a play, but a theater within a theater. Most of all, it is a poem about poetry. The hero of the play is Fridtjof Nansen (Jasper Britton), Murray’s long-ago friend (and admirer of his translations)— the dashing Norwegian scientist, artist, and Arctic explorer *Tony Harrison, Fram .
    [Show full text]
  • Notes for an Unwritten Biography of William Trevor
    Colby Quarterly Volume 38 Issue 3 September Article 4 September 2002 "Bleak Splendour": Notes for an Unwritten Biography of William Trevor Denis Sampson Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 38, no.3, September 2002, p. 280-294 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Sampson: "Bleak Splendour": Notes for an Unwritten Biography of William Tr "Bleak Splendour": Notes for an Unwritten Biography of William Trevor By DENIS SAMPSON IILITERARY BIOGRAPHERS," William Trevor has ren1arked, "often make the mistake of choosing the wrong subjects. A novelist-or any artist­ admired for what he produces, may not necessarily have lived anything but the most mundane of lives" (Excursions 176). His remark is a warning to any prospective biographer of Trevor himself, his way of implying that his own life has no worthwhile story. Yet the warning has its own paradoxical interest, for surely it is Trevor's particular gift to make literature out of the mundane. His refusal to dramatize the artistic self, to adopt heroic or romantic postures, somehow allows him to absorb and honor his mundane material, to find a tone that mirrors the inner lives of his unheroic characters. The consistency of that tone is his major accomplishment, according to John Banville: "his inimitable, calmly ambiguous voice can mingle in a single sentence pathos and humor, outrage and irony, mockery and love.... He is almost unique among n10dem novelists in that his own voice is never allowed to intrude into his fiction" (Paulson 166-67).
    [Show full text]
  • 2016 Latham Caroline 123237
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Reanimating Greek Tragedy How Contemporary Poets Translate for the Stage Latham, Caroline Susan Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 Reanimating Greek Tragedy How Contemporary Poets Translate for the Stage Caroline Susan Latham Degree: Doctor of Philosophy in Classics Research (Field of study: the modern reception of Greek tragedy) 1 Abstract This thesis starts from the premise that modern poets have proved effective translators of Greek tragedy for the stage and is a hermeneutic consideration of why and how they succeeded.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Addition to Summer Letter
    May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
    [Show full text]
  • On Not Being Tony Harrison: Tradition and the Individual Talent of David Dabydeen
    On Not Being Tony Harrison: Tradition and the Individual Talent of David Dabydeen LEE M.JENKINS ^^)NE OF THE MORE unusual critical responses to T. S. Eliot is surely David Dabydeen's claim that "Eliot is the parent of Carib• bean poetry." Indeed, Dabydeen himself feels the need to qualify his remark before he makes it, when he says that Eliot assumes this parental role "in a peculiar sense" (Grant 211). On a thematic level, much of the work of the British-based Indo-Caribbean poet Dabydeen is to do with absent parents (the poet's actual parents, his parent country of Guyana and the Caribbean parent language, Creole; now living in England, Dabydeen shares with Eliot the sta• tus of metoikos, or resident alien); on a formal level, his poetry is less a quest for origins than it is a turbulent — by turns loving and loathing, respectful and rebellious — relationship with Eliot and other literary progenitors from Homer to Tony Harrison.1 Dabydeen's agon with Eliot is evident from his first collection, Slave Song (1984). The poet's use of Creole in this collection is, on one level, a testament of authenticity and, paradoxically given Dabydeen's tide, a proclamation of emancipation from the influ• ence of Eliot and Western literary tradition: this black vernacular is a language which, despite its "capacity for a savage lyricism" per• mits no level of abstraction, so "you cannot have the Four Quartets in Creole" (Binder 171, 170). Notwithstanding this, the innova• tion of contemporary Black British and Caribbean poetry suggests a certain continuity with Eliot; prior to these poetries, Dabydeen has argued, "the last great innovator in British poetry this century has been T.
    [Show full text]
  • House of Atreus Syllabus
    Greek 114: Honors Seminar in Greek Drama The House of Atreus in Greek Tragedy: Aeschylus’ Agamemnon, Sophocles’ Electra, Eurpides’ Orestes Grace Ledbetter This seminar is a close reading of Aeschylus’ Agamemnon, Sophocles’ Electra, and Eurpides’ Orestes. We will also read the entire Oresteia, Eurpides’ Electra and Iphigeneia plays in English. Copies of these Greek and English texts are available in the bookstore, in addition to Aristotle’s Poetics and Nietzsche’s The Birth of Tragedy, which we will also consider in the course of our discussions. Required texts: 1) J. D. Denniston and D. L. Page, Aeschylus Agamemnon, Clarendon. 2) J. H. Kells, Sophocles Electra, Cambridge. 3) T. M. Falkner, Euripdes’ Orestes, Bryn Mawr Commentaries. 4) Fagles, trans, Oresteia 5) Eur. Electra, Iphegeneia in Aulis, Iphigeneia in Tauris in English 6) Aristotle, Poetics. 7) Nietzsche, Birth of Tragedy. Work for the Course: 1) weekly translation and reading assignments 2) approximately bi-weekly oral presentations on specific passages or other readings. 3) three 8-10 page papers, integrating secondary literature, which will be due during weeks when there is no Greek reading assignment. 4) final exam: translation only. Syllabus: Week 1 background readings and video of Tony Harrison’s and Peter Hall’s Agamemnon (National Theater of Great Britain). P. Wilson, “Powers of horror and laughter: the great age of drama” in O. Taplin, ed. Literature in the Greek World, Oxford, 2000 Cambridge History of Classical Literature: Greek Literature. tragedy chapters Gantz, Early Greek Myth. (The Line of Tantalos; Agamemnon; Orestes; Iphigeneia). Aeschylus’ Oresteia in English. Fagles translation Agamemnon 1-39 in Greek Week 2 Agamemnon 1-354 (with Denniston-Page; Fraenkel) R.
    [Show full text]
  • Trabajo Fin De Grado — Irene Cubas Régulo
    THE COMIC HERO AND HIS ATTITUDE TOWARDS WOMEN IN A STAR CALLED HENRY AND OH, PLAY THAT THING IRENE CUBAS RÉGULO TUTORA: AÍDA DÍAZ BILD FACULTAD DE HUMANIDADES | SECCIÓN DE FILOLOGÍA GRADO EN ESTUDIOS INGLESES LA LAGUNA, JULIO 2015 INDEX 1. ABSTRACT 1 2. INTRODUCTION 2 3. COMEDY AND THE COMIC HERO 4 4. THE NOVELS 10 5. HENRY AS A COMIC HERO 12 6. WOMEN 14 6. 1. ANNIE 16 6. 2. GRANNY NASH 19 6. 3. MISS O’SHEA 22 7. CONCLUSION 28 8. LIST OF WORKS CITED 30 1. ABSTRACT This work pretends to analyse the behaviour of the main character of the novels A Star Called Henry and Oh, Play That Thing, two novels of the same author, in order to show that their protagonist’s attitude as a comic hero can be perceived in his relationship with three fe- male characters. The main character’s name is Henry Smart, who is the same protagonist in the two novels, and the three female characters I focus on are Annie, Granny Nash and Miss O’Shea. Henry’s behaviour towards them is also examined to show his attitude as a comic hero, since it can be perceived in his relationship with them. In order to do so I divide the main body of the work into three parts: in the first one I explain what comedy is, how it has been considered and its most important features. This part also contains who the comic hero is, focusing on the comic virtues that characterise him based on the theory of Hyers about comedy, The Spirituality of Comedy, complementing it with the ones by Morreall, Bakhtin, Bergson and Gutwirth.
    [Show full text]
  • Tony Harrison's Prometheus: a View from the Left
    Tony Harrison’s Prometheus: A View from the Left EDITH HALL Fire and poetry, two great powers that mek this so-called gods’ world OURS! Old Man, who has become Pro- metheus, to an audience of miners1 IN 1998 TONY HARRISON’S first feature film was screened at some esoteric venues, broadcast on uk Channel 4 television, and subsequently disappeared almost completely from public view. Outside the uk it has made little impres- sion. Nobody got very excited about Shelley’s Prometheus Unbound in 1820, either. Yet I am convinced that the eye of history will later view Harrison’s Prometheus as the most im- portant artistic reaction to the fall of the British working class as the twentieth century staggered to its close, a fall symptomatic of the international collapse of the socialist dream. The film also offers the most important adaptation of classical myth for a radical political purpose for years, and (with the possible exception of his stage play The Trackers of Oxyrhynchus) the most brilliant artwork Tony Harrison has yet produced. Harrison believes that the ancient Greek tragedy entitled Prometheus Bound is by Aeschylus, the poet of the Athenian democratic revolution. Aeschylus’ Prometheus is wilful, stub- born, audacious, gloomy, inspirational, intellectual, poetic, and has a diachronic view of history allowing him to see far away across the world, far into the past and equally far into the future. Harrison’s film is also wilful, stubborn, audacious, gloomy, inspirational, intellectual, poetic, with an interna- tional perspective and diachronic view of history. It escorts its audience on a procession of arresting images leading from northern England to eastern Europe and Greece, via the bomb- 130 tony harrison’s PROMETHEUS ing of Dresden, the collapse of socialism and the Holocaust.
    [Show full text]