If Bah Humbug was a person they’d look like me, and yet even I was attracted by the signs of Christmas in this bookshop. I do like to highlight good independent bookshops, dead and alive. How can a small town like Great Malvern (population under 35,000) support a decent independent bookshop, in these days of discounts and globalization? This town has found one way to do it.
Their bookshop is a cooperative, owned and run by its shareholders. The website tells me shares cost £50 each, and you can buy one, or two. It also tells me they pay their staff a living wage, whereas I’d been under the impression it was staffed on a voluntary basis by the shareholders. But so much the better (and more reliable probably) if it’s providing employment.
Notices on the board
There are two rooms, one with a mezzanine, on this extremely steep hill – if after fortifying yourself in the bookshop cafe, you continue straight on and can walk perpendicularly up “Happy Valley” (I always wanted the chance to write that) you will find yourself on top of the Malvern Hills. But it may be wise to stop and peruse the books, guides, maps and local author in the room on the right first. You may find a (slightly) less steep route.
The room on the left is the main bookshop area, with a good shelved and tabletop collection of contemporary fiction and non fiction, a colourful childrens’ section, the counter where the helpful assistant lets you browse in peace but is on hand if needed, and a jolly looking café with a good selection of high quality cards in support of various charities. Somebody’s had fun dressing the window for Christmas and there was about to be a talk by journalist Matthew Engel when I was there. Another successful talk the previous night had depleted the stock – which is exactly what we want to hear happens when an independent bookshop puts on an event.
(Presumably they know they have a doppelganger in Texas? I found it when looking for their Twitter handle.)
Malvern is one of my favourite places. It’s a spa town half way up the extraordinary Malvern Hills, home of Elgar, with a theatre, an Abbey, a lovely park with a bandstand, excellent music events, and other places to buy books too – the Amnesty International bookshop, and the St Richard’s Hospice bookshop in Malvern Link which was the cleanest, best organised and most professionally run charity bookshop I have ever visited.
I was gladdened by the Malvern Book Cooperative because in the same week I was saddened by what’s happening to another community run project, one in which I do hold £100 of shares. My grandparents both lived in Hastings when I was little, and I have happy memories of visits to the pier. So I was grieved when the already unsafe structure burnt down in 2010 and only too pleased when local people got together to rebuild and run it again. They made such a success of it – a new, solid, fireproof, elegant pier, with catering and entertainments, helping to regenerate the town, and sharing all it learned with other local projects such as Bottle Alley and St Leonards sea front. Alas, their application for a grant of £800,000 to cover becoming independent over the next three years has been refused, and the pier taken into receivership. The letter to shareholders was upbeat – jobs will be protected, the receivers are specialists in administering heritage projects and there are interested parties already. All is by no means lost. But it seems so sad, for the notional value of a three bed semi in London, that so much goodwill, good design, and regeneration could be again at risk. I’m using these photos from the Pier site, which are not my copyright, and hope they will not mind as it’s part of my response to the request to continue to support and promote the pier.
As the website says: “The pier will remain open to the public whilst the administration takes place, and the pier will be fully operational and staffed for 2018….Hastings Pier Charity encourages you to keep visiting and supporting the pier, and look forward to the next stage of the development of Hastings Pier.”
Please visit and use it!
There was more cheerful news from the Herne Bay pier when we visited last month: the local knitting coop had decorated the railings with these eccentric crafts for Halloween and Armistice Day while the beautiful bronze statue of Amy Johnson looked out over the sea nearby. Local people and businesses raised the funds for and commissioned this statue, installed in 2016, which is also significant for being “one of only about 17% of statues listed in the Public Monuments and Sculpture Association (PMSA) of a woman as a lone standing statue”.
Here’s a last minute addition to this post: the wonderful Dalston Eastern Curve Garden where we sang carols last night, drank mulled wine and enjoyed the light show. Thank you to the Boilerhouse Singers for keeping us warm with some lovely music.
If you have a brilliant local community project, bookshop, building or activity, do support it. These are the things that give our towns character, conscience and individuality. I’d be fascinated to hear about any that you’re involved in – and who knows, maybe it would spur me to plan a trip and support it.
Back to Lisbon this week, to continue wandering round the city’s literature. The interruption for illness (including hallucinatory dreams) was apposite, as the books I’ve read meander around in time, in location, in the heads of their authors and their characters. In homage, this post may take detours too.
The entrance and ground floor of the Saramago Foundation, confusingly, did not feature Jose Saramago, Portuguese winner of the Nobel Prize for Literature, despite the name and Saramago characters silhouetted in the windows. Instead the enthusiastic young attendant talked about the surface of the building and the archaeology beneath it. Only when we went back out did we realise this surface was not flat, hence its name: “Casa dos Bicos”. In the strong sunlight, we’d assumed the shapes on the walls were shadows or flat tiles. But it was another example of how, in Lisbon, things are not what they seem. As the wonky Google translation of the Saramago Foundation page puts it: Where some would want to see diamonds, (people) saw no more than stone beaks, and, as the use makes law, of so much calling it House of the Beaks, of the Beaks stayed and with that name entered History.
The archaeology fan referred me to his colleague when I asked where to start with Saramago. He gave us a quizzical look and recommended Small Memories. The archaeologist, who probably thought us really thick, nodded. “Yes, that’s the easiest.” (It was less patronising than it sounds.)
Anyway, Small Memories was straightforward: a memoir comparing his childhood and adolescence in the countryside and within Lisbon. He’s difficult to quote because his sentences are so long, and he enjoys playing with the reader and pokes sardonic fun at his own work: “Sometimes I wonder if certain memories are really mine or if they’re just someone else’s memories of episodes in which I was merely an unwitting actor and which I found out about later when they were told to me by others who had been there, unless, of course, they, too, had only heard the story from someone else.” It’s an affectionate, comical memoir: “photos of the family were gathered together on the table like a galaxy of faces…placed there like saints on an altar, like the disparate parts of a collective reliquary, fixed and immutable.” (To see a macabre local inspiration for this metaphor, visit the Sao Roque collection of relics.)
Reading about Saramago’s childhood in lyrical, nostalgic but unsentimental prose was reminiscent of earlier memoirs of country childhoods: Laurie Lee, of Flora Thompson or Pagnol. In the city they were still poor but differently, and closer to the time of Alan Johnson in London. Like them, learning to read transformed his life: “Being able to identify a word I knew was like finding a signpost on the road telling me I was on the right path, heading in the right direction.” Like them, he describes the relish of special food or simple treats and details wildlife with perception I hope children are not losing now they spend so much time in virtual reality. The boy Saramago fought real street battles. “As shields we had saucepan lids that we found among the rubbish.” The man searches the city records for the true date of his infant brother’s death, and finds the child was almost airbrushed from history by bureaucratic mistakes; in contrast, his grandfather looms solid in his memory: “His small, sharp eyes shine sometimes as if something he had long been pondering had finally been understood. He is a man like many others on this earth, perhaps an Einstein crushed beneath a mountain of impossibilities,a philosopher, a great illiterate writer.”
It was good to read this book on a visit to Lisbon. It brought the streets alive.
Then I had a go at another Lisbon writer, who to my shame I’d never heard of before. He too has a museum in his name, the Casa Fernando Pessoa, which my photographs don’t show because we didn’t visit it. They show some other building that pays him homage, along with many statues, tile murals, and posters. Pessoa wrote in the voice of numerous heteronyms, narrators he used to express his thoughts at a distance from himself, “characters” as the introduction to my edition says, “Pessoa invented to spare himself the trouble of living real life.” The Book of Disquiet (Livro do Desassossego, 1930s) is a collection of thoughts, ideas, recollections, epigrams, memories and opinions voiced by the characters he invented. Editors and later translators put it into order for publication but nobody knows if that order is correct. The sections are not long, and you can dip in and out as you like. Said Pessoa himself: “It’s all fragments, fragments, fragments!” Pessoa worked on it all his life, getting further from finishing it with every page he wrote. At the beginning (if it is the beginning) it’s firmly located in the Rua dos Douradores, where we queued unsuccessfully at an over popular restaurant. Soares the heteronym works in an office there; he breaks for lunch, he walks home; he looks out of the window… So far so concrete, and much of the streetscape hasn’t changed since the 1930s when Pessoa described it. The beginning in particular (if it is the beginning) is full of lovely descriptions of Lisbon’s everyday life and scenery.
You get a flavour of the rest of the book from Text 12: “In these random impressions, and with no desire to be other than random, I indifferently narrate my factless autobiography, my lifeless history. these are my Confessions, and if in them I say nothing, it’s because I have nothing to say.”
That doesn’t sound promising, and yet Pessoa struck some chords for me. He can certainly express the futility and depression of being alive in a world without God or clear meaning, with a self protecting layer of sardonic humour: “And when I leaned out of my high window looking at the street I couldn’t see, I felt like one of those damp rags used for housecleaning that are taken to the window to dry but are forgotten, balled up, on the sill where they slowly leave a stain.”
Like Night Train to Lisbonwhich I wrote about before, this is book about identity – does the author/heteronym have one? If so, what does it mean and what happens when, inevitably, it changes in one of many potential ways?
“At the heart of my thought I wasn’t I. I’m dazed by a sarcastic terror of life…” “By thinking so much, I became echo and abyss, by delving within, I made myself into many.”
Pessoa (or his heteronym/s/narrator/s) was a modernist who made me think of Joyce and Proust. He tried in vain – and often consciously without too much effort – to make sense by writing of his dreams and fears and small joys, clung to his familiar apartment and mundane work, didn’t dare explore the rest of the world and yet felt trapped and often said he longed for death, seeing people as “like eels in a wooden tub, they slither under and over each other, without ever leaving the tub.”
“I’m the ruins of buildings that were never more than ruins, whose builder, halfway through, got tired of thinking about what he was building.” It’s not all miserable. He claims an absence of feelings: “What mysteries have taken place? None. There’s just the sound of the first tram, like a match to light up the soul’s darkness, and the loud steps of my first pedestrian.” That “my first pedestrian” shows Pessoa playing with Lisbon like a child with a train set, moving figures about, getting bored and abandoning it for dreams and cloudy ennui.
Pessoa asks: What is a human being – or more exactly, who is a human being? What s/he thinks themselves, or what others think of them? And what of change, in different lights, at different times, from one age to another, in different dates of health and solitary or befriended?
I got about halfway through. I may go back to it sometime. If I don’t, at least I know the author wouldn’t care, or says he wouldn’t care, one way or another. Maybe I’ve already read the end – who knows? But if you want a route map, you almost certainly CAN go on a Pessoa walk run by the Pessoa museum, and online there are umpteen collections of epigrammatic quotes from Pessoa. (What would this rambling, connected, discursive, bewildered man have made of the internet?) Also, the superb Night Train to Lisbon refers to The Book of Disquiet in many circular ways, and had I read them in reverse order I would have gleaned even more resonances from this book.
It was though, a relief to get back to Saramago.
The second Saramago book I read was The History of the Siege of Lisbon (1989). Saramago is a conscious wordsmith and his hero here is a proofreader, called Raimundo (ah! Mundus in Night Train to Lisbon is also a meticulous reader). A conscientious man, he has only ever made one mistake when correcting proofs, and it’s deliberate but, being in a history book, it changes the whole course of reported history. Saramago, like Pessoa, is fascinated by accounts of history, by how different they would be if they’d been made by another person, in a different year, a different place or a different mood, with more or less, true or false information and propaganda. As he says: “Words cannot be transported lightly here and there, back and forth, so watch out, otherwise someone will come along and say: I don’t understand.”
The Siege of Lisbon soon segues into stories in layers that interact – the proofreader learning to write his own prose rather than correct that of others, the proofreader falling in love, the history of the siege itself and a parallel love affair between a soldier and a concubine; the history of warfare (getting very technical at times), the views of royalty, politicians, Muslim and Christian clerics, peasants and soldiers. It’s about words, writing (referencing Pessoa) and publishing, love, and mistakes, and loneliness and forgiveness and the development of humanity. It’s much more positive than Pessoa, partly because “Raimundo Silva has mastered the art of floating vague ideas, like clouds that stay apart, and he even knows how to blow away any idea that gets too close”.
And, of course, it’s about Lisbon, street by street, steps by stairs, castle by harbour. I wish I had read it in hard copy rather than Kindle as I needed to keep turning back in time – as does Saramago, as does the proofreader – and checking my facts and my impressions. Again, there are echoes of this book in Night Train to Lisbon; again, I’d read them in the wrong order. Friends just returned from Lisbon expressed surprise at how lost we’d got: my approach must have been wrong in so many ways and yet I’m pleased, because I inadvertently mirrored the style of several great writers and some intriguing, sympathetic, lonely literary characters.
Some long books, and a city with a long and convoluted history have lead to a long and winding post. Thank you for staying with me.