Der Lesender Klosterschüler

This wooden sculpture is by Ernst Barlach (1870-1938), the German expressionist sculptor, printmaker and writer. I came across it in 1969 in the novel by Alfred Andersch “Sansibar oder der Letzte Grund” (Zanzibar or the Last Reason), and it made a deep impression on me.  I only saw the actual carvings by Barlach much later in Nuremberg in 2003: these were exciting to see, but the photo in the text book remained iconic in my mind.

The figure, made in 1930 is now in the town of  Güstrow, in Northern Germany,  where Barlach lived until his death in October 1938.   Though a supporter of the German cause in the First World War, Barlach grew to despise the futility of war and developed a pacifist position at odds with the rise of Nazism in the 1920s. His sculptures were seen as degenerate art, but Barlach did not passively accept the destruction of his sculptures, but protested the injustice, and continued to produce.


From 1933 Barlach’s sculptures were removed from churches and public spaces. In 1936 and 1937 the persecution grew more intense:  Barlach’s galleries were closed, public art collections removed and sculptures torn down. Even his collections of drawings were not allowed to appear in book form. This was tantamount to a complete ban on working and without doubt contributed to Barlach’s early death in 1938.

Sansibar oder der Letzte Grund

In the novel, the Reading Monk has a central role as a trigger of consciousness and is a starting-point for the external action. “Sansibar oder der Letzte Grund” is about moral choices in a tale of escape, pursuit, persecution, crises of faith and political disenchantment. The statue, which must be smuggled out of Nazi Germany as an act of defiance, is a focus for the inner dialogue or practical desires of each of the five protagonists in the tale.

Among those characters is  Knudsen the rough-and-ready fisherman to whom the task falls to take the figure to Sweden. He is touched by the figure as “a strange creature from wood in the dark”. The Boy, his helper and the seeker of the “Last Reason” to leave his home, is captivated by the aura of the character.

Helander the priest the sculpture embodies an age-old spirituality that is timeless, in stark contrast to the indifference of the populace to the rise of a godless and inhuman regime. To save the figure will be an act of defiance and a show of his faith. Not least, a show of faith to himself, which is sorely tried by the absence of God and His failure to act against the totalitarian state.
For Judith, the monk is one who can read all he wants, and is free to read anywhere. As a Jew in flight from Germany, this is emblematic of her bid to escape from a place where reading is done only in a background of fear and entrapment.

Gregor, the Communist Party official tasked with the safe removal of the figure to Sweden, is the character most in thrall to the Reading Monk.  He recalls his time at the Lenin Academy when the reading was intense, but all about getting lost in the uncritical acceptance of words echoing party ideology. Gregor can see that this monk is very different. He is not lost. He reads easily, attentively and closely. But he also one who is able to close the book, stand up and turn his attention elsewhere, and do something entirely different and of his own choosing.

Gregor’s reaction echoed my own in those days. But for me the emphasis was different. This Reading Monk was enjoying an engagement in study and a peace in spirit. There would be a time to walk away, to have new experiences.  But whatever these were, there would always be this place of serenity awaiting.

Images of the Lesender Klosterschler and Barlach

Barlach website:  http://www.ernst-barlach-gesellschaft.de/

Violins in the Modern Era

Popular music in the 20s and 30s, especially dance music, had the violin as an essential ingredient. At least 2 or 3 violins could be heard in a typical dance orchestra. Society bands would often include as many as 6 or 7. But in the mid 1930s, the Swing sound had arrived in the US, and soon all stringed instruments including the violin became surplus to needs. Since the 1960s, of course, the guitar and bass guitar has reigned supreme in pop and rock music. But the merging of folk with rock sounds in the late 1960s and early 1970s,meant that once again the sound of violin strings became part of the mix. Since then and over time in the 1970s, the arrival of disco also meant the inclusion of strings in the overall sound. But with advent of synthesiser in the 1980s, the violin lost its way for a time, whilst emulated string sounds reigned supreme.

But now the violin has made its comeback, and is being increasingly part of a new wave of mainstream pop. Independent artists such as Final Fantasy (aka Owen Pallett - example here) and Andrew Bird have developed a focused style, creating a subcategory of indie rock called “violindie”.

A favourite for me: Andrew Bird and “Danse Caribe on the album Break it Yourself 

Hawk Roosting

Today at Benjamins Cottage, I saw a sparrowhawk through the conservatory and managed to get a picture from our upstairs window.  Though in a tame garden environment, the bird recalled to mind the poem by Ted Hughes from wilder scenes.

It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot

In our post-enlightenment western civilisation we have indeed tried to hold creation in our grasp. The poem demonstrates  that this must be seen, in the end, as a thoroughly misguided pride. In the process, the civilised values of human life that give it significance have been forgotten. Man in our times is driven by mad impulses and obsessions.

Still, my hawk looked benign, though a little preoccupied.

Hawk Roosting

Ted Hughes (1930 - 1998)

I sit in the top of the wood, my eyes closed.

Inaction, no falsifying dream

Between my hooked head and hooked feet:

Or in sleep rehearse perfect kills and eat.

The convenience of the high trees!

The air's buoyancy and the sun's ray

Are of advantage to me;

And the earth's face upward for my inspection.

My feet are locked upon the rough bark.

It took the whole of Creation

To produce my foot, my each feather:

Now I hold Creation in my foot

Or fly up, and revolve it all slowly -

I kill where I please because it is all mine.

There is no sophistry in my body:

My manners are tearing off heads -

The allotment of death.

For the one path of my flight is direct

Through the bones of the living.

No arguments assert my right:

The sun is behind me.

Nothing has changed since I began.

My eye has permitted no change.

I am going to keep things like this. 

_____________________________
Published 1960