Blobs
Musings on Blobs and the like
Lâu lắm, viết trang
lời Việt về một bài hát
Đôi khi tôi nghĩ, làm thế nào để hát bài hát “Tôi Yêu” cho thật có hồn có điệu … Bởi vì tôi cứ mãi ngâm nga trong miệng, làm nhà tôi bực mình – bực mình, trong cách duyên-dáng của nàng.
(Đôi khi, là hai chữ rất đỗi khó-khăn. Thế nào là đôi khi: mỗi năm, mỗi năm năm, hay là mỗi ngày mỗi tháng. Hay là mỗi phút mỗi giây? Hay là lúc bình-minh mùa xuân bây giờ? Hay là hoàng-hôn mùa đông vừa qua? Thế nào là đôi khi: khi mình còn thơ đi bộ đến trường? Khi mình, vẫn còn thơ, đạp xe thăm bạn-bè nói chuyện Kim Dung? Khi chữ-nghĩa còn trốn trong sách vở? Hay khi thời-sự trở thành hằng ngày méo mặt hung-hăng. Đôi khi. Thế nào, khi nào, là đôi khi?)
Bao nhiêu năm về trước, hai cô (thật ra là hai bà, nhưng gọi ca-sĩ là bà thì nghe không nghệ-thuật), hai cô Thái Hằng và Ánh Tuyết (cô là của những năm năm-mươi, không phải là cô cùng tên rất đỗi điêu-luyện về sau này), hai cô đó chung vào hát Tôi Yêu. Và tôi thấy, trong giọng hát bắc-kỳ gợi cảm giàu-có của hai cô, tôi thấy cả miền quê Việt Nam, một thứ miền quê tôi yêu mà không hỏi-han thắc mắc. Tôi thấy sông, thấy bờ, thấy trời thấy nước. Tôi thấy thiên-địa chưa đã phong-trần. Tôi thấy mình vẫn còn trẻ, vẫn trẻ luôn luôn. Tôi thấy mình còn mạnh, lúc nào cũng mạnh. Tôi thấy mình còn thơ. Tôi yêu, như cô Thái Hằng đã yêu, như cô Ánh Tuyết …
(Cô Thái Hằng hát hai bài nữa tôi còn nhớ, Bà Mẹ Quê và Thiên Thai - với cô Thái Thanh. Nghe Thiên Thai của hai chị em tôi ngỡ trở thành chàng Lưu chàng Nguyễn nhìn phiền-lụy cuộc đời trôi theo dòng nước. Nghe Bà Mẹ Quê, tôi muốn trở lại thành ba thành bốn thành năm, lẽo đẽo bên mẹ để có được miếng khoai miếng sắn. Viết dài dòng vậy, để tỏ rằng cô Thái Hằng ca hát đâm thẳng vào lòng người, ít nhất là đâm vào lòng tôi … Và cô Ánh-Tuyết thì rất đỗi dễ thương, vì bài Tà Áo Cưới mà cô hát, dù rằng hát có nhanh, đã làm tôi nghĩ-ngợi, lúc mười hai mười ba, rằng tà áo cưới tơ lụa như vậy có đủ làm hai vợ chồng son ấm-áp đêm động-phòng hoa-chúc trao lòng quấn-quýt với nhau mùa Thu mùa Đông?)
Lớn lên rồi, rất lớn lên rồi, về hưu, tôi mong mỏi tìm kiếm cô nào khác hát Tôi Yêu thật hay như hai cô hai bà của quê-hương bảy mươi năm qua, ở trên. Tôi thấy có ba cô ca-sĩ hát hay nhưng diễn trên sân-khấu (Sài Gòn hay Hà-Nội hay Huế hay Hải-Phòng Nha-Trang?), với phụ-tá múa may quá tân-thời vui vẻ, ba cô quần áo quá mỹ-miều tốt đẹp, làm tôi tiếc lại hình-ảnh làng quê trong bài hát. Thành-thử tôi thích nghe ba cô mà không thích nhìn. Nhưng trời không phụ tấm lòng giản-dị chân-thành. Tôi tìm được cô ca-sĩ trẻ "Benboyeuthoung" (xem chú-thích), cô hát giọng đơn-sơ như tầm-hồn của tôi. Vì vậy, tôi thật là may mắn vô-vàn hôm nay.
Như vậy là tôi cứ u-ư bài hát trong đầu trong miệng. Tôi không biết hát, thành-thử chỉ u-ư là đủ. Nhưng tôi yêu Tôi Yêu, tôi yêu Thái Hằng Ánh Tuyết, tôi yêu Benboyeuthuong.
Sự-thực là, tôi yêu Tôi Yêu bởi vì tôi yêu quá-khứ, quá-khứ đã chết; bởi vì tôi yêu Việt-Nam đã qua, Việt-Nam-đã-qua đã chết. Bởi vì khó-khăn để yêu Việt Nam hôm nay. Như vậy là câu chuyện không còn giản-dị, thế là Tôi Yêu trở thành vất-vả điêu-linh. Thế là những dòng những chử trong sáng trên kia bắt đầu trở thành cổ-thụ oằn-oại năm mươi năm qua bảy mươi năm qua.
Chữ-nghĩa tâm-tình không thể thân-thiết chủ-nghĩa thế-thời? U-ư thô thiển phòng vắng không hàn-huyên được sân-khấu sáng chói ánh đèn? Vậy là thật buồn.
Long Vo-Phuoc, November 2022
Chú-thích:
1. Tôi Yêu - bài hát của Trịnh Hưng Hồ Đình Phương, 1950s.
2. Tôi Yêu, “Thái Hằng & Ánh Tuyết”: https://www.youtube.com/watch?v=NnQ0UEIcuAw
3. Tôi Yêu, “Benboyeuthuong”: https://www.youtube.com/watch?v=XjwquN_buNU
Sweden, that fair land
This is a good time in the 21st century (a puny duration of twenty years, tiny speck from here to the shoreline of history) to write about Sweden, that little country with less than a dozen million souls well north of the Tropic of Cancer, where the winds blows hard in winter, where early autumn is often sparkling and where in summer one drives or catches a train to Sundsvall for a few days’ rest when the sun sets late, very late.
I know, I was there a few times, the first time in autumn many years back, one evening sipping a beer quietly in a restaurant waiting for a friend, looking outside at street lamps shining on large maple leaves on pavement, feeling autumn deep in my bones.
Anyway, let’s wake up from that - this note is not about an October of a northern land, no, it’s about how the Swedes do things. But first, let me say that I am not partial about the Swedes (I’m not really partial about any people, in all honesty). Many times I believe they are a bit complacent in running their country, a bit slack in modern time, to put it bluntly: the social welfare net is too broad, too cushy. Public service’s standard has fallen behind that of many places in a similar standing. Deep down, I feel they have been a little spoilt. Yet at the same time I know I am being unfair, they can relax any which way they like because they have earned the right to do so, they have been successful and considerate in politics and international relations the last hundred fifty, two hundred years. They have been resourceful, inventive. What they are now is the fruit of their success. How could the pages of history forget the time Swedish troops marched into Norway upon the latter’s proclamation of independence, felt the cold stares of the populace from towns and villages’ balconies, felt a bit chilled and unwelcome, thus promptly marched out again without firing a shot, granting Norway independence forthwith. And how could one forget the fact that Swedish women enjoyed full suffrage since 1913, a time when in much of the world their sisters West and East were still treated quite lawfully badly (even to this day).
So I shouldn’t be grumpy about them. Because who in the world would decisively nationalise the entire banking system in ruin from gross private-sector mismanagement, would recover it within just a few years back to profitability, then would sell it back to the market at some profit (so that the social safety net could benefit with more soft padding, that is true). Who would do it so well other than the Swedes of 1992? Certainly not Japan for twenty years since the 1990 fiasco, not the badly-run capitalist world in 2008 amid dumb central-banking (yes, not the US and all with its penchant for “awe and shock decisive actions” et cetera), that’s for sure.
And who took in almost two hundred thousand refugees from the Syrian war in 2015-16? The intake ratio out of total population, 10 million, was the highest in the world, and only one country took in more in number, Angela Merkel’s Germany with a million, but Germany has eight times the population of Sweden. How many did Australia, 25 million with 7 million squared kilometres of land, took in, twenty thousand? How many did the US, twenty? What about Japan, a dozen or two? Taiwan? Singapore? China? Saudi Arabia? Note that Sweden and Germany had never interfered in Syria's affairs in the past, unlike the UK, France, Turkey, the US, Russia ...
Whatever far-reaching strategy behind the scene (aging population, etc.), the refugee move by Sweden (and Germany) was deeply courageous, full of generosity. Both places have suffered quite a fair amount of social upheavals because of it in the years since, but they have managed more or less in some proportion. One can only hope that things will turn out well, that the recent newcomers would further appreciate the bravery of that kind gesture and thus further respect the culture and tradition of the peoples who received them. Because no one else did anything remotely close throughout the rest the world.
And now Sweden does it again. In this time of hyperbole, of busybody “governments” who chop and change tunes by the hours (depending on what ready advice they get), of panicky central bankers who know nothing of what to do except throwing, printing, money and to hell with consequences a few years down the track, yes, in this time of so-called “lockdowns” (an ugly, ignorant and insulting word – “shut-down” is more to the truth), in this time of such idiotic goings-on, Sweden elects to continue to respect its citizens, its taxpayers (its bosses, in all constitutional frankness) and not to “lockdown” anyone.
Yet Sweden has many more deaths and infected from covid-19 than, say, Australia and Vietnam who are very keen to resort to heavy-handed lockdowns. (True also, Sweden has less deaths and infected than, say, Italy, France, Spain, the US, the UK, Belgium, Iran, China (China, where the virus originated), who all shut their own everyone down (still does in many parts in China’s case)).
So that’s three counts Sweden does things well apart from, well above of, everyone the last thirty years. They were proven right the first occasion and received just rewards. I hope the Swedes (and the Germans) will be right the second time, because they deserve every positive outcome from that kind and brave gesture.
And I hope also, they will be right the third time, because I admire their fortitude, because I believe in liberty and in liberal democracy, and because I despise those authoritarian thugs left and right around the world brandishing words like such without understanding one bit of the meaning. Because those like the Swedes again deserve to be proven night, these days of this century.
Finally, for a light-hearted break from the above I thought about an article (a few links below, "2016 Nobel Prize in Literature") I wrote back in late 2016 about Sweden again, more or less. There wasn’t really a criticism in the article. Rather, it was full of affections, from the times of today going back forty, fifty, sixty years.
Long Vo-Phuoc (early April, early autumn, Sydney, 2020)
A Sublime Beauty
The photo below was taken by Sabine Weiss, a well-known but very private Swiss-French photographer. The car in it was the Citroen 2CV, the stranger with umbrella – well, I don’t know her, the rain was of course in Paris, 1957, when Ms Weiss was 33.
I don’t normally upload art photos. But by chance came across this from an auction catalog overseas.
Hard to fathom, the indescribable artistry ...
Long Vo-Phuoc, November 2018
(in memory of the rain of Sai-Gon, Nha-Trang, Hue, forty-five years on)
Dali’s Bible
Long Vo-Phuoc
I am not a religious person, but (because I like books and old written artifacts, yet this surely is too simplistic a reason?) believe I understand the power of a text thousands of years’ deep such as the Bible to a Christian. In particular, the Latin Vulgate to a Roman Catholic. I don’t come across such a text often even though, travelling through the years, I’ve seen versions in different languages, Asian … European …. Rather surprisingly I once saw a digital Bible page in the form of modern Cham – obviously some of the diaspora of this people are Christians whose ancestors survived the destruction of their country long ago. Some of these ancestors, long oppressed by the Viets, must have been converted into Catholic by French missionaries two three hundred years back.
There is also the Gutenberg Bible. I never viewed an original although a limited-edition facsimile published in Germany in the 1980s is a lovely and pricy work of art by itself. But all in all I don’t seek out a Bible, in whichever language, much less in Latin.
Then by chance I saw the rare "Dali's Biblia Sacra" (Vulgatae editionis Sixti V pont. max. iussu recognita et Clementis VIII auctoritate edita) in a place overseas, and was quite taken by its beauty.
This is quite a “book”. Published by the Rizzoli-Mediolani press in Rome, 1967, it became a modern classic to art-book lovers, in particular among Christians. The reason is both simple and unusual: it has 105 lithographs by the surrealist Salvatore Dali (1904-89) in striking colours. The book - rather, books, as the title is in five volumes - is large. Each of the five is 40cm x 50cm x 10 cm. Each weighs some 11 Kg.
Only 1797 were printed, dividing into “ad personam” (99) for friends and special patrons, “magna luxus” (199) and “luxus” (1499). Each “ad personam” has the original owner’s name dedicated in printed form, a certificate from the publisher, and an original gouache. The pages of the ad personam are of highest quality art rag-paper: pure cotton, thick, heavy, characteristically rough on the touch, cream colour, gilded top side, uncut the other two. Each sheet is originally A1-sized, bearing the watermark of Dali’s signature, printed then cut into two A2’s for binding. The typeset is large, bold, very black, the die designed especially by an Aldus Manutius. The cover (leather – morocco), the binding, all were works by best artisans in the fields.
Rag papers are particularly suited to water-colouring, caligraphy and, as in this instance, for keepsake printing. The cotton is tightly woven; ink never runs on it – unlike pulp. Nowadays the expensive medium is used only for painting and art-photo printing (and the most romantic of love letters?), rarely otherwise. Altogether the title covers 2,000 such pages, such paper.
It was surprising, controversial even, that Dali was involved in a religious endeavour – his surrealist paintings are hard-going for many, his style and subject matters at times outlandish. But the suggestion came from a Dr. Guiseppe Albaretto, friend, patron and an admirer of his art, who was also the editor of this Bible (together with Petro Raggi and others). It was Albaretto's hope that in illustrating the sacred text Dali would return to “the way of God”.
Dali accepted the challenge and completed it with great style. His original gouaches became instant treasures. The lithographs in the books, every one of the 105 each set, were printed on another type of specially made paper again (the best rag, pure cotton, smooth, cream-white, very thick, very hard, well more than 300g/m²) and protected by Japanese silk guard sheets with Dali’s choice of biblical captions. These were immediately desirable - so much that there have since been many fakes. Art dealers acquiring the Bible from time to time quite lamentably cut out the lithographs, frame and sell individually to customers. For fifty years many books were published to research on and to catalog them (eg. Michler & Lopsinger, New York, 1995), and there have been exhibitions in the major metropolises.
The project was meant as a form of spiritual redemption for Dali. I don't know if he became devoted to God and better-behaved himself thereafter. But his friends, patrons, followers, all seemed quite happy, and there was little doubt as to his energy and sincerity. As it turns out, after half a century the works are still fresh, powerful, immediately eye-arresting; the ancient themes, from Jewish and Christian points of view, are still evocative through the ups and downs of history.
This volume, in hand, is an ad personam, covering Book Genesis to Book Second Samuel. In perfect condition with all 21 lithographs intact. I admire the lithos but, more so, love the paper and the dark bold typeset: one can decipher the Latin from memory of a corresponding English text. I feel the paper, run fingers along the uncut edges, and imagine the passion of a religious person in my place. I think of the contrast: the ancient evocative text, the modern lithos, the austere meaning of the words, the exuberance of the colours ...
I wonder if there’d be a sparkle in the eyes of a devout gentle soul reading this book, this poetry from times long past. That would be nice but what do I know, a simple atheist ...
(Note on the images:
Dali quoted two captions for each lithograph, generally from two different chapters in books of the Bible, such as were relevant to him. I selected one only for each plate below. “we who once spoke the same tongue” is my contribution to Plate 11, the tower of Babel.
Plate 2, pp. 24a-b, Volume I ... In principio ... Genesis 1
Plate 6, pp 96a-b ... From the side of man ... Genesis 2
Plate 11, pp 176a-b ... Come, let us make bricks (we who once spoke the same tongue) ... Genesis 11
Plate 13, pp 200a-b ... Leaving Gomorrah ... Genesis 19
pp. 248- ... Sinai Blessings ... Sinai Poetry ... Deuteronomii 33
Plate 16, pp 248a-b ... Sinai ... Exodus 3)
Long Vo-Phuoc, January 2018
© All rights reserved.
Obituaries
I always enjoy Ann Wroe’s Obituary section of The Economist. These days with a new issue I check for it first before the usual stuffs – maybe I’m really getting older. It’s the last page, next to the back cover. Reading these often evocative articles, the print edition would set one in a right mood much better than a digital form. You could have sunlight behind, you could have a lamp shade from the side, sink a little into a comfortable chair when there is one, a cup of coffee in hand perhaps ...
In recent weeks I read about two lives of great beauty that had just past, and this led to my own fond reminiscence on another:
Simone Veil, 1927-2017, one of the most effective and passionate women’s rights activists and one who rose well above early adversity, “Liberated”, July 8, 2017, edition,
“LIKE the other children, she should have been slaughtered on arrival. But with whispered advice from another prisoner, she claimed to be 18, so instead they sent her to forced labour, tattooing her arm to show that she was no longer a schoolgirl from Nice but a numbered slave, awaiting death by starvation and exhaustion.
The deportation to Auschwitz shaped her life, Simone Veil said; it would be the event she would want to recall on her deathbed. As a magistrate, civil servant and politician, she heard echoes of that humiliation in the trampled dignity of women. It spurred her to end the mistreatment of female inmates, particularly Algerian prisoners of war, and to push through contraception reform, making the Pill available at taxpayers’ expense. Foreshadowing her greatest achievement, she set up an organisation to defend women being prosecuted for terminating their pregnancies.
.......”
or https://www.economist.com/news/obituary/21724776-french-stateswoman-was-89-obituary-simone-veil-died-june-30th.
(On the rights of a woman on abortion, see also the article “In Manila, the black market trades in access to abortion” by Claudine Spera, The Guardian Weekly July 21, 2017, or https://www.theguardian.com/global-development/2017/jul/10/how-bitter-herbs-and-botched-abortions-kill-three-women-a-day-in-the-philippines)
Maryam Mirzakhani, 1977-2017, outstanding Field-medalist mathematician, a gentle soul who sadly died young, “Adding Up”, July 22, 2017, edition:
“IMAGINE a frictionless ball rolling around a billiard table. Next, work out, on variously shaped tables, which set of ricochets would merely repeat a pattern, and which would eventually cover the whole surface. Full answers are still elusive, but it is the sort of mathematical puzzle that outsiders can at least imagine.
By Maryam Mirzakhani’s standards, such problems were mundane. In her world, the billiard tables were abstract geometric objects which stretched and warped. The problems involved not just one table but a “moduli space”, of all possible such surfaces. Fans called her work on these mind-spinning abstractions the “theorem of the decade".
.......”
or https://www.economist.com/news/obituary/21725270-worlds-leading-female-mathematician-was-40-obituary-maryam-mirzakhani-died-july-14th.
Speaking of obituaries (thus this very belated note herewith), Võ Phiến, 1925-2015, is Việt Nam’s greatest writer. Very few literary works East or West cover the vast inner landscape of the mind as eloquently detailed, as compassionate and surprising as his Một Mình (“Self”) (1965, Saigon: Thời Mới), a masterpiece. Remembering this book in later years Proust sometimes comes to my mind but Proust, rightly exalted but always affected and self-conscious, was never as natural and at ease as Võ Phiến. Một Mình is a novel written on a life that survived a war just past and still smothered by another present, yet it rises well above matters of war – infinitely sophisticated whilst dressed up as simple monologue at times. First acquainted in early teens, I reread it every year until the time I left the country - and left it and others behind; these were a few years later burnt by order from the communists who had then become masters of the land. Yet passages of the book, and of his other works, still occasionally stir in mind thoughts and patterns of a life long ago.
(Image: Simone Veil, from The Economist)
Long Vo-Phuoc, August 2017.
Anti-War Songs
Long Vo-Phuoc
1. Musings
2. Song for One Who Lost Her Mind
3. Tình Ca Người Mất Trí
4. With God on Our Side
1
These two songs were obviously written for those who died in war through no fault of their own, many died never buried, and for those, from all sides, who were conned into going to war, who killed and were killed. But above all the songs are for the survivors who lost closed friends and relatives to war and somehow meander through life with such unimaginable burdens. Past wars, present wars, future wars - when, behind you there is nothing but the abyss.
In 2 below are the lyrics from “Tình Ca Người Mất Trí”, 1960s, of Trịnh Công Sơn (b. & d. Viet Nam, 1939-2001) that I translated into English. The song is characteristic of Sơn’s substantial anti-war treasures, evocative all (his other works, love ballads, too are splendored things in a different hue).
Poetry translation is an act of “betrayal” (30 August 2014 post, "Nguyên Sa: Paris and Autumn" - "Paris & Sai Gon" Page, above), and I am never happy with the liberty I have to take here and there in going about the task. But there you are, languages have their own nuances in daily and poetic lives (the term “tiếng nói da vàng”, say, literally “language of the brown skin”, doesn’t quite carry the same emotional force without overt racial intonation into a Western tongue - historical complexes and all from the last few hundred years).
My English version is based solely on the lyrics, no constraint consciously applied as regard Sơn’s music even though, in my view, poetry in essence has its own melody and rhythm. I can hum the words along well enough here, but perhaps in a later post I would change things somewhat for a different version that fits more tightly with the notes.
To translate is not only to betray, it’s also a work constantly in progress. So I might edit it now and then – whether with a cup of coffee in hand (no longer with a cigarette for many years), a glass of vino, when immersed in a song by Sơn, by Bob, the sounds of Khánh Ly manifested from 1972’s and 1973’s smoke-filled cafés in Nha-Trang and Sài Gòn, soul-searching lullabies by Joan Baez from the other side of the world ...
Sơn’s original lyrics are shown in 3.
The link below shows a recording of Sơn’s singing, late 1960s’:
https://www.youtube.com/watch?v=2Wuq_k21egU
In 4 below are lyrics from “With God On Our Side” by Bob. Here he was at his most untrusting, most cynical phase, 1962, and I like that Dylan very much, the one who then had only desperate music and poetry to fall back to if all else failed. That was the Dylan I remember. A video, link below, was made in 1964:
https://www.youtube.com/watch?v=cAgAvnvXF9U
2
Song for One Who Lost Her Mind
I had a love who died in the battle of Plei-me
I had a love from war-zone Đ
who died in Đồng Soài ...
... died out in Hà Nội
died hurriedly along the frontier.
I had a love who died in Chu-Prong
I had a love whose body floated downstream
died out there in ricefield ...
... in unfathomed jungle
died burnt, raw and black as coal.
If I could say I love you my Việt Nam
In raging storms I walk, lips whisper
calling your name my Viet Nam
close by me the language of our skin colour.
If I could say I love you my Việt Nam.
Coming of age under sounds of bombs
here I am, useless hands and redundant lips
forever forgetting the human voice.
I had a love who died in Asau
I had a love who died curved as foetus
died on mountain pass, died under bridge
died choked in tears without shred of clothes.
I had a love who died in Ba-Gia
A love who died only last night
Died suddenly, without appointment
without hatred, died as in a dream.
Trịnh Công Sơn, 1960s, translated Long Vo-Phuoc, 2016.
Plei-me, Đồng Soài, Chu Prong, Asau, Ba Gia: names of battlefields, Việt Nam War.
3
Tình Ca Người Mất Trí
Tôi có người yêu chết trận Plei-me
Tôi có người yêu ở chiến khu Đ
Chết trận Đồng Xoài, chết ngoài Hà Nội
Chết vội vàng dọc theo biên giới.
Tôi có người yêu chết trận Chu Prong
Tôi có người yêu bỏ xác trôi sông
Chết ngoài ruộng đồng, chết rừng mịt mùng
Chết lạnh lùng mình cháy như than.
Tôi muốn yêu anh, yêu Việt Nam
Ngày gió lớn tôi đi môi gọi thầm
Gọi tên anh tên Việt Nam
Gần nhau trong tiếng nói da vàng
Tôi muốn yêu anh, yêu Việt Nam
Ngày mới lớn tai nghe quen đạn mìn
Thừa đôi tay, dư làn môi
Từ nay tôi quên hết tiếng người.
Tôi có người yêu chết trận A Sao
Tôi có người yêu nằm chết cong queo
Chết vào lòng đèo, chết cạnh gầm cầu
Chết nghẹn ngào mình không manh áo.
Tôi có người yêu chết trận Ba Gia
Tôi có người yêu vừa chết đêm qua
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Trịnh Công Sơn, 1960s
4
With God On Our Side
Oh my name it is nothin’
My age it means less
The country I come from
Is called the Midwest
I’s taught and brought up there
The laws to abide
And that the land that I live in
Has God on its side
Oh the history books tell it
They tell it so well
The cavalries charged
The Indians fell
The cavalries charged
The Indians died
Oh the country was young
With God on its side
Oh the Spanish-American
War had its day
And the Civil War too
Was soon laid away
And the names of the heroes
l’s made to memorize
With guns in their hands
And God on their side
Oh the First World War, boys
It closed out its fate
The reason for fighting
I never got straight
But I learned to accept it
Accept it with pride
For you don’t count the dead
When God’s on your side
When the Second World War
Came to an end
We forgave the Germans
And we were friends
Though they murdered six million
In the ovens they fried
The Germans now too
Have God on their side
I’ve learned to hate Russians
All through my whole life
If another war starts
It’s them we must fight
To hate them and fear them
To run and to hide
And accept it all bravely
With God on my side
But now we got weapons
Of the chemical dust
If fire them we’re forced to
Then fire them we must
One push of the button
And a shot the world wide
And you never ask questions
When God’s on your side
Through many dark hour
I’ve been thinkin’ about this
That Jesus Christ
Was betrayed by a kiss
But I can’t think for you
You’ll have to decide
Whether Judas Iscariot
Had God on his side
So now as I’m leavin’
I’m weary as Hell
The confusion I’m feelin’
Ain’t no tongue can tell
The words fill my head
And fall to the floor
If God’s on our side
He’ll stop the next war
Bob Dyland, 1962.
Long Vo-Phuoc, October 2016
© All rights reserved.
Photo: early 1972, Nha-Trang.
Related Post: 2016 Nobel Prize in Literature, 15 Oct 2016.
2016 Nobel Prize in Literature
Long Vo-Phuoc
The above was awarded last night to one Bob Dylan. For those who read poetry, plays or fiction with a little more than passing interest the first thought might naturally be, what has the world come to?
One woman writer quips, well I’m going to win a Grammy next. And what’s wrong with that? How about an Oscar for the original song, never mind that she hasn't composed a single note of music? Her lines are melodic enough, verse or prose, and that would be the end of the discussion.
Frivolity aside I can think of only one scenario as to how those Swedish Academy gals/guys came to that result. It all boils down to this guy, let’s call him Member A (to protect his privacy and to avoid tricky law suits in Sweden – remember the insistence of its comic litigation against Julian Assange?).
Anyway this was what I believe had happened:
Member A was well over 60, perhaps between 65 to 70. He’s always been a sentimental chap. In those years when young he read extensively about the war in Viet Nam, an other people's war that the US unjustly, without provocation, went to with its immense fire power. In his now older golden age, Member A was sentimental still, an enlightened baby boomer in every which way. He spotted a nice trim little beard, quite white. Energetic, thoughtful and learned, he had a secret agenda to bring to his fellow academy gals and guys tonight.
He cleared his throat and said, listen up mateys (obviously he used the charming equivalent expression in Swedish), I know we got to make a decision tonight but first can I make a left-field suggestion. He looked round to see if anyone showed a slightest disagreement to such a reasonable opening manoeuvre.
No one did anything of the sort, so he carried on. Look here, I know we are stickers with our tradition and always start with Swedish beers. But really, I’m up to here (he raised hand to his eyes) with our beers this year, the barley didn’t ripen properly, the weather so cold that the poor workers didn’t keep a good eye on the taste-ometer; whatever, I’m sick of our beers. Can I suggest a choice Belgian one that I have a case here. We can then follow with a Dutch case, a top-notch one. The other day I met a chap from the other side of the world, he reckoned a drop called 3 Ravens Dark Smoke something from his Melbourne place was a fine one. It does look like fish sauce in the Vietnamese restaurant that I frequent, but it’s a real tasty smokey beast. So I suggest we’ll be on to that case too, any objection?
Objection? You have got to be kidding. His fellow “Academers’” eyes all lit up, brighter than a thousand suns. This is a dream come true for progressive thinkers from the fair Sweden of yore.
So they Skål (that is, prost, in the old teutonic tongue). And they Skål. And they Skål. But one noted that Member A Skål quite moderately. He did have an agenda to push, if you recall.
One hour as such passed, and they finally finished the fish sauce-looking amber from the down down South. Fortunately the cases were of a six-bottle variety, not twelve, so they still conversed quite intelligibly, just. Being the delightful people that they were, they naturally chatted about the finer things of life, avant-garde things, disruptive things (though not in the big buck-driven sense of tech-speak, if you don’t mind).
Member A then moved on to his next weapon, a real sophisticated one. He said, my gals and guys, for the main course of this liquid meeting, I’ll do away with the tiresome bottles they call grand crus from Bordeaux (here his mates raised their eyebrows – there was a topological limit to their enlightenment). I say, Member A continued, tonight we care not one hoot about those tepid dish-washing liquids that they call fine wines in this continent. If you like that dark something we just swallowed then here I have these two magnums of red from the same country, they call it Bin 707 or whatever. Ridiculous name, but it’s 25 years old, a great vintage, and, I guarantee you, you never buy pricey nonsense from la belle France ever again.
And he triumphantly poured from his enormous decanters for his fellow learned chappies. And they prost, and they toasted, and they cheered, and they continued their merry-go-round.
When the second double decanter became half-empty (pardon, half-full), when his mates’ voice started slurring, when their brain became delightfully addled, he cleverly moved on to the kill, to his secret goal.
He told them, with misty eyes, that he was still enamoured with the old 1960s anti-war melodies that were so noble. He first mentioned the Creedence ones with their carrying-ons about rain, bad-moon rising, this and that unfortunate chap. Then another bunch of guys who played guitar and sang The House That Deservedly Belongs To The Sun. Then another (even though, it must be said, he wasn’t perfect. He omitted a chap who wrote quite nice sad songs about war in Viet Nam, a chap who lived right in the middle of it, a chap whose name was Trịnh. But let’s not hold this against Member A, and move on).
At any rate, he said to his now bleary-eyed mates, nothing is comparable to this Bobby chappie. Dylan that is. No no (he hurriedly explained to one nice-looking academer gal who’d turned 60 recently), no no that’s the surname Thomas guy, but true, our old mates never gave him the big prize. This Bobby guy, he’s a wonderful poet, but he only put his poetry in songs.
Yeah? His mates enquired ever so gently.
Yeah mates, he said. This Bobby is so lovely, and I say we should get on with life and be more of being pop culturists (I like these new words, he slurred intimately to the group). Just like we just preferred jet-named wine here over LaToury and LaFittey (whatever, he said), we should get on with the New Age (he stressed), be cool, way cooler than the fake cool in the movie-land, and give this Bobby this year’s award.
They raised their big Riedel glasses and said, Skål.
The lovely woman Academer, conscientious as always in doing her job, said, well, Bobby is still probably poor, so the money would be good for him, I presume? (She is really lovely this lady Academer. Speaking of pop music, she thought to herself, was it that long ago that I had a close friend who happened to like the on-stage style of a songstress named Suzi Quatro? Heavens, we were so much in love with one another, she sighed, again to herself).
Sure sure, Member A assured her, bringing her back to the present, even though I don’t really know. Bobby is a Yankee in the entertainment industry, and we are Swedishy in high-brow lit, so I have no clue on that. But art has no boundary, for poorer or richer.
Skål, they all said.
And that’s how it happened.
What can I say, after all that?
Or perhaps I would say this. That Bobby might as well receive the accolade and the prize (USD 1.2 mil, no less), loaded though he is. That Booby should now tour the world for a year without charging money, without making baby-boomers in deep reminiscence pay the earth for tickets to hear songs that are performed with well below the energy level that Bobby had 50 years ago. And that Bobby should visit Trịnh Công Sơn’s tomb, Viet Nam, say hello to a fellow anti-war song composer who was every bit as poetic as Bobby all those years ago – even more so, in all literary honesty.
Below are photos, all from GoogleImages, of the young Dylan, the young Trịnh, and the young Alice Munro who won the Lit Nobel three years ago.
Long Vo-Phuoc, Spring 2016, 15 Oct
© All rights reserved.
The modern origin of blobs
Long Vo-Phuoc
The person who really did blobs was Vincent van Gogh. In earlier works, under the influence of various modern masters and, particularly, arrogant mate Gauguin (whom he came to blows against here and there later on) his works were nice, relatively gentle – there was a little dreamy smoothness that one could confuse with the era’s other chaps, strong individualistic colours notwithstanding.
But the more he started feeling detached from this world, the more he liked blobs. He was austere in the true meaning of the word, because there was no option otherwise; he was a natural ascetic, an aesthete without a care for what that entailed (unlike self-conscious big-ego “ascetics” the world over, ask Lao-tze or Nietzsche); he became oblivious to all things except one.
He was obsessed (I had preferred to say, besotted) with blobs, and blobs only.
I like him. I like his blobs, very much. To me, a painting without blobs is one without the furthest achievement of serenity and anguish, together (!), lovely as such a work could be otherwise.
Here was a guy who died early, had no sexual love with anyone (at least since he started the slow descent of the mind – in a conventional and not necessarily correct definition), sold only a single painting in life (for 5 Fr, on the streets of Paris many years earlier), could not define poverty, if pressed, because he was the epitome of such a thing.
And painted blobs.
He was more than Mozart in the music world (tone-deaf that I am?), more than Rilke in the poetic realm, even more than Munro in the brutal landscape of words and realities (yes, plural). All this, of course, in my humble opinion.
What’s there not to like about his blobs?
Here is his most famous blob, from Starry Night, 1889 – to see it in real life you have to go through plenty of hassles to reach New York (rather sad for Amsterdam). Now if you’re able to download a 3.2 GB (no typo) tiff image from the net, that would almost be the real thing – tech sometimes is useful and unexploitative .
That blob aside, there are a few other lesser ones, not too bad. Some random examples are shown below – because I saw them recently.
(Details of the works are as per file names, herein.)
Long Vo-Phuoc, mid 2016