Obviously I’m pleased, not to mention surprised, to see my book reviewed in a national newspaper that isn’t the Morning Star. Without wishing to sound ungracious, though, it is mildly exasperating to see the review uncritically reflect the idea that using Big Words makes the writing ‘over-done’ and ‘in thrall to the strangulated cult-studs vernacular’. I do know what John Harris means by the latter term, of course, and I will write at a later point about the regrettable tension that seems to occur in a lot of contemporary writers, invariably ones on the left, between the wish to make one’s writing easily understood and the fear of sounding overly simplistic. The latter, incidentally, often seems to be fuelled by a feeling that, in order to be taken seriously by a small potential readership whom one has been conditioned to regard as cultural and academic gatekeepers, one needs to somehow ‘prove oneself’ by larding one’s prose with gobbets of Žižekian sophistry, lest one stand accused of being low-brow or naïve or Owen Jones or something.
The thing is that these words don’t strike me as ‘big words’ when I’m thinking or writing them, they simply strike me as the most appropriate words to use. I also dislike repeating words, and so I use a lot of words which mean similar things but which I guess might grow progressively more outlandish until the book ends up describing 90s popular culture as ‘atavistic’ rather than simply ‘backwards-looking’. Sorry about that, I guess? Ironically enough though, the review goes on to cite ‘those great pop-cultural intellectuals’ the Manic Street Preachers, whose lyrics were nothing if not a strangulated vernacular of their own. For good or ill, the Manics, in their encouragement of reading and general cultural immersion as a cure for small-town boredom and alienation, were far more of an influence on my subsequent vocabulary than some nebulous villain called Cult-Studs.
So here’s a question. Is vocabulary now considered a class signifier? Does understanding, and using, ‘big words’, mark you out as someone who cannot belong to ‘the ordinary’, ‘the normal’, the demographic conveniently delineated by external commentators as ‘working class’? Or is it the case that one’s socio-economic background does not preclude one having an expansive vocabulary? Might one have gained a knowledge of ‘big words’ from, uh god I don’t know, reading books and reading broadsheets, despite where one was brought up? And does knowing ‘big words’ mean you can never be categorised as ‘working class’? Continue reading
This is the fifth AND LAST in an overlong and overthinking-it series of posts on Wales, history, identity and the Manic Street Preachers, as filtered through the song ‘Ready for Drowning’.
“For a start, the very fact that we were Welsh meant that we had to try 100 times harder than any other group. Even now, in some terrible news magazine, someone’s reviewed the album and the headline is ‘Boyos To Men’. And I’m not saying it’s racist or anything: I just find it incredibly thick. In a way I’m glad I’ve got all that now: it gives me something to rail against, to use as a creative feeder.”
Can you speak any Welsh?
“We were never allowed to learn. And that’s another big bit of resentment in us: it wasn’t on the curriculum for the whole of South Wales. I’d have loved to have been able to speak Welsh.”
“Damn it all, you can’t have the crown of thorns and the thirty pieces of silver.”
– Aneurin Bevan, c. 1956
After all this, I mean, I still feel Welsh, and I still call myself it. ‘Welsh’ for me can be a residual, reserve identity, buried or submerged, but still enduring; something to cling to when adrift, rightly or wrongly; something to anchor me. What the identity consists of, though, I’ve never been sure. It’s not a national identity but a local one, and its localness – the ways in which I feel myself to be Welsh -always keeps me conscious of the ways in which I’m not. Rather than ‘yes, that’s it’, it’s easier to say ‘yes, but that’s not all it is’. Wire in that 1997 interview may well proclaim himself ‘into oneness’, but there is no One Wales. Even beyond the country’s linguistic, geographic and political divisions, there exist multiple fractured identities, defining themselves by the local not the national – particularly through being from X, rather than from Cardiff. Growing up, attributes, accents and attitudes were associated with specific areas, towns, areas of towns, sometimes pinned down to exact streets. The Wales of swords and stone circles, drowned lands, dragons and druids, Taliesin and Eisteddfodau exists in romance alongside the reality of GLC’s Newport, Gavin & Stacey’s and Simon Price’s Barry Island, the drug-soaked, politically corrupt underworld of Lloyd Robson’s Cardiff Cut, the Valleys anti-romances of Rachel Trezise, and a multitude of other identities scattered and self-contained but highly secure in their specifics. To brush under the national carpet all of these peculiarities, to smother them in fantasies of ancient racial purity, the flag, the Senedd, or MTV’s predictably execrable The Valleys, does justice to nothing Continue reading
This is the fourth in an overlong and overthinking-it series of posts on Wales, history, identity and the Manic Street Preachers, as filtered through the song ‘Ready for Drowning’. Stay tuned with suitably low expectations.
To be Welsh is to be conscious
At dusk of the spilled blood
That went into the making of the wild sky…
And an impotent people,
Sick with inbreeding,
Worrying the carcass of an old song.
– ‘Welsh Landscape’, R S Thomas
To be born Welsh is to be born privileged
Not with a silver spoon in your mouth
But music in your blood and poetry in your soul
– from ‘In Passing’, Brian Harris
While living in London I had that second quote on a keyring for several years; if you’re Welsh, you might have done so too – or you might have had it on a mug, a teatowel, an embroidered sampler. The 1967 poem from which it is (mis)taken contains far bleaker Thomas-esque currents (‘ugliness that scars the spirit / as the earth’, ‘rivers of mingled blood and sweat’), but this opening snippet has become both tourist branding, found everywhere it can be sold, and a kind of faux-folk fetish for the Welsh themselves. With its elevation of ‘natural’ cultural creativity over material advantage making a virtue of necessity, it is our Keep Calm and Carry On – a comforter, a pacifier. Continue reading
This is the third in an overlong and overthinking-it series of posts on Wales, history, identity and the Manic Street Preachers, as filtered through the song ‘Ready for Drowning’. Stay tuned with suitably low expectations.
The furies are at home
in the mirror; it is their address.
Even the clearest water,
if deep enough can drown.
Never think to surprise them.
Your face approaching ever
so friendly is the white flag
they ignore. There is no truce
with the furies. A mirror’s temperature
is always at zero. Its camera
is an X-ray. It is a chalice
held out to you in
silent communion, where gaspingly
you partake of a shifting
identity never your own.
– ‘Reflections’, R S Thomas
Most people see me as a rake, womanizer, boozer and purchaser of large baubles. I`m all those things depending on the prism and the light. But mostly I’m a reader.
– Richard Burton
Besides the drowning of Tryweryn, Ready for Drowning also snags the idea of drowning one’s sorrows, referencing the alleged propensity of the Welsh for – what shall we call it? – a steady, a committed, a co-dependent relationship with drink. The association of Wales with a certain kind of romanticised and spectacular inclination to alcoholism – not so much in reality as in legend – still persists. Ready for Drowning compares the flooding of Tryweryn with how, according to Wire: ‘a ceaseless chain of Welsh people seek to adjust to their circumstances by drowning their synapses in alcohol. …‘it’s half Richey, half Welsh identity – about how many of our icons either drink themselves to death or run away’. Continue reading
This is the second in an overlong and overthinking-it series of posts on Wales, history, identity and the Manic Street Preachers, as filtered through the song ‘Ready for Drowning’. Stay tuned with suitably low expectations.
In the Bible, God made it rain for 40 days and 40 nights. That’s a pretty good summer for Wales. That’s a hosepipe ban waiting to happen… I was eight before I realised you could take a cagoule off.
– Rhod Gilbert
O where are our fathers, O brothers of mine?
By the graves of their fathers, awaiting a sign…
The slopes of slag and cinder
Are sulking in the rain
And in derelict valleys
The hope of youth is slain.
– from Gwalia Deserta, Idris Davies (1938)
Idris Davies, the coalfield’s ‘bitter dreamer’, lost a finger in a mining accident and was first radicalised and then disaffected by his participation in the 1926 General Strike. Subsequently unemployed, and having been introduced to the work of Shelley by a fellow miner, he began four years of what he called ‘the long and lonely self-tuition game’. In his poetry, as fanboyed by T S Eliot, he is notably attached to the word ‘derelict’, especially as a description of the south Welsh valleys, desolate and desecrated by industry. (They’ve only grown more apt as a pairing.) Davies has little of R S Thomas’ brutally bleak, at-bay snarling; his jeremiads are, like the landscape and land he describes, just ‘sulking in the rain’, sad and sullenly resigned. Continue reading
‘I’ve never written about Welsh identity before: these days, I’ve got to search for things to write about, whereas in the past everything would be driven by anger and all the rest of it. Now I’ve got to delve more… Ready For Drowning is the most complete song I’ve ever written, I think…’
One: All Surface No Feeling
“The submerged land of Cardigan Bay is called Cantre’r Gwaelod (‘the lowland hundred’). It was defended from the sea by an embankment and sluices. Seithennin was keeper of the sluices, and one evening when there was a great banquet he became drunk and left the sluices open. The water rushed in and drowned the inhabitants. The poet Taliesin was the only one to escape alive.
“When man first came to live on the coast of Wales (sometime between the Neolithic and the Iron Age), the sea level was still rising between Wales and Ireland, separating the two countries further and further, and the legend relating to the drowning of the Lowland Hundred probably developed as a result of folk-memory of a sudden coastal flooding many centuries ago. The remains of peat and tree trunks which are visible on the beaches when the tide is far out further captured man’s imagination. Similar traditions are connected with certain Welsh lakes [and] with other parts of the Welsh coast… The moralistic and onomastic elements in all these traditions are very obvious.”
– Robyn Gwyndaf, Welsh Folk Tales (1989)
What are the roots that clutch, what branches grow
Out of this stony rubbish?
– from The Wasteland, T S Eliot (1922)
Lately I’ve been revisiting both the land of my birth and upbringing and mid-period Manic Street Preachers. The latter was a moderately painful process which has, incidentally, left me staggered all over again that ‘Tomorrow Steve Ovett has injured his calf’ was considered to pass muster as a lyric. I don’t generally subscribe to the idea that everything good about the band vanished along with Richey; I think Design for Life is, while maybe not the best thing they’ve accomplished, at least the most valedictory, the thing I remain most proud of them for doing. But yeah, they should perhaps have called a halt to things shortly after that. Continue reading