On Chesil Beach
On Chesil BeachThis short (166 pages) but beautifully paced novel is easily read in two or three sittings but only the meanest of critics will feel short changed as a result of this brevity. It essentially tells the story of a wedding night which goes catastrophically and messily astray. Ian McEwan has a great talent for tight examination of seminal moments in his characters lives which alter irrevocably the entire course of their futures. Readers of his previous work such as Atonement or Enduring Love will know that already but here too is the undercurrent of unease which darkens other McEwan books such as Black Dogs or The Comfort of Strangers.

The majority of the tale is set in the years immediately preceding the sexual revolution of the mid-1960s. On a July evening in 1962 two newly-weds, Edward Mayhew and Florence Ponting, stumble through an awkward dinner at a hotel on the Dorset coast overlooking Chesil Beach and the Fleet Lagoon, anticipating the first night of their married lives with mixed emotions. Both are virgins, and each has their reasons for anxiety. For Florence, the prospect of engaging in penetrative sex with her new husband terrifies her to the point of hysteria. The manuals she has read have struck a chord of revulsion within her with words such as "membrane" and "glans". By contrast, Edward's fear is that he lacks the necessary self control to prevent him ruining his wedding night by "arriving too soon".

Over the course of this psychologically insightful novella, McEwan elicits a deep compassion for both Edward and Florence in the reader and it is this compassion which makes witnessing their inability to overcome their conjugal differences all the more heartbreaking. Through numerous flashbacks into the two protagonists lives leading up to the point of the wedding night, the reader is able to build up an understanding of these characters that they are unable to grasp themselves. Beneath the surface of every unspoken word, awkward silence or tumble weed inducing attempted joke, the reader can see through to the real affection that exists between them and their ardent but ultimately conflicting desires to please the other and go on to lead happy fulfilling lives.

McEwan writes extraordinarily well with seldom a word misplaced and we drift subtly, without even noticing, between events within the marital chamber and those of years gone by. The book looks unflinchingly, but not without humour, at the conventionally English emotions and traits of repression, deception of others and of the self and at lifelong mournful regret. That might not sound immediately appealing, I grant you, but I have no hesitation in recommending one of the best works of fiction I've read in many many months.
Written by Kevin   
Monday, 14 July 2008 18:29
 
Ils se marièrent et eurent beaucoup d'enfants
Ils se marièrent et eurent beaucoup d'enfantsThe direct English translation for this film is "They married and had lots of children", however in the US it is given the title "Happily Ever After". Released in 2004 and starring director Yvan Attal, his real-life wife Charlotte Gainsbourg, Alain Chabat, Alain Cohen and Emmanuelle Seigner; this turned out to be a truly likeable gem of a film.

It revolves, in a Woody Allen-esque sort of a way, around the married lives of Vincent (Attal) and Georges (Chabat) and the life of their single friend, Fred (Cohen). The two married men, frustrated by the restrictions marriage and family have placed upon their lives, look on with envy as their unremarkable looking friend seduces a succession of beautiful women, sometimes twice in one day. The bantering dialogue between the three men is a definite comedic highlight of the film, with Chabat gaining the largest share of the laughs exploring the deep mid-life crisis of Georges. His wife, played with relish by Emmanuelle Seigner, is bitter, sabre-tongued and on a rampage of feminism. She insists on purchasing their son gender neutral toys and Chabat is delightfully outraged as his son drowns out the TV news with his new toy vacuum cleaner. Vincent loves his wife Gabrielle (Gainsbourg) and their young son but this does not prevent him from taking a mistress and falling in love with her too. This infidelity is kept a secret from everyone in Vincent's life. Fred is dismissive of his friend's admiration and he himself is envious of their domestic stability and marital companionship.

The concept of the grass always being greener on the other side of the fence is the one that underpins almost everything that happens in this film. There is also the insistent question of what defines a happy, satisfying and successful marital partnership. Vincent's infidelity occurs despite him sharing an affectionate and playful relationship with his wife. The epic foodfight between the pair, played out against the shootout from Butch Cassidy and the Sundance Kid, is fabulously messy and brought out a few belly laughs in our house. As funny as the foodfight is, you are aware that the couple have used it as a way of avoiding a confrontation over marital discord. As the film progresses we focus more on Gabrielle and realise she intuitively knows that her husband is cheating on her. Her unease at what the future holds leads to her having daydreams of future infidelities all her own. The scene with her meeting an alluring stranger (Johnny Depp) in a record shop and sharing 3 minutes of unspoken nervous chemistry to the sound of Radiohead's Creep over their headphones is particularly effective.

The cast are all tremendously good here, Gainsbourg especially, and backed by a great soundtrack and stylish yet unobtrusive direction create a film well worth seeing. It's not a perfect film and won't be to absolutely everyone's taste but nobody does adultery quite like the french.
Written by Kevin   
Monday, 16 June 2008 12:16
 
The God Delusion

The God DelusionI have wanted to write about my experiences of reading The God Delusion by Richard Dawkins (2006) and the discussions with friends which followed. Dawkins hopes that people who perhaps haven't thought seriously about religion or the existence of God, those who are "sitting on the fence" on the subject, may be encouraged to do so after reading his book. What surprised me most during discussions between my friends and I on the subject was the fact that it seemed impossible to have a dispassionate yet serious conversation about religion with anyone, regardless of their religiosity or lack thereof.

 

One of the main criticisms I have encountered concerning The God Delusion is a dislike for the manner of Dawkins' angry, rant-like rhetoric and it is true that he pulls no punches when addressing the subject of organised religion, provocatively describing the "indoctrination" of children as akin to "child abuse". This highlights the unspoken societal rule that a persons religious beliefs are to be afforded a level of respect far above that given to their political beliefs or their particular tastes in art or music for instance. Religious beliefs are almost above criticism. I can berate someone for their electoral voting inclinations without fear of serious reprisal so long as I remain civil and as polite as the situation demands. I can say that someone's admiration for the music of Billy Ray Cyrus shows shockingly poor taste and that every minute they have spent listening to it was a waste of their time here on earth. However, I cannot say to a person of faith that I think their belief in God is also a waste of their time and that their holy books are fictions based on myth, at least not to their face, without fearing that I will have crossed some kind of line in the sand, no matter how polite I am about it.

 

If I call any particular organised religion "ridiculous" and go on to qualify that by saying that I believe the deity or deities involved to be a figment of the human imagination, adherents to that religion have a right to be offended if they so wish, as long as their reaction remains a legal and reasonable one, but the notion that I would also have managed to offend and slander some kind of omnipotent super being through my pronouncements is a little more unsettling. Just what sort of all powerful creator would be the least bothered by what I had to say and then also require the intervention of human followers to teach me a lesson I'd never forget?

 

It is this notion of untouchable deference towards religious beliefs which has been the main source of debate surrounding The God Delusion and it is the area which generates the most heated discussions among those I have spoken with on the topics covered within the book. It is a shame that this aspect takes up so much attention because there is so much more within the pages to stimulate the mind. For many people the intricate complexity of the natural world cannot be something which has arisen through mere chance and the only coherent answer to the existence of intelligent life which can be imagined is the co-existence of a creator. What Dawkins does both in this book, and more so in his previous works on evolutionary biology (especially The Blind Watchmaker, 1986), is present the case for life arising through innumerable small steps over an almost unfathomable period of time, Darwinian evolution, and he does so with admirable clarity for the non-scientist or layman.

 

Human beings struggle with the thought of their own deaths and spend a lot of time worrying over what may or may not happen afterwards. Believers in a deity may find solace thinking that they will be saved and ascend to heaven. Even if it is the other, hotter, place they end up there is still something after death. A typical atheistic thesis may be that after death your body is either buried and then slowly consumed by soil-dwelling creatures or otherwise disposed of, by burning for instance, and that your conciousness flickers out of existence when brain function ceases. Far from turning all atheists into doom-laden depressives it should really encourage them to make the most of their lives here on earth. Why be scared and worried about death when you're not going to be around to see it? Whatever the (unknowable) truth about what happens after your own death it does seem utterly pointless to spend a great deal of time agitating about it beforehand.

 

Dawkins' The God Delusion may have some notable flaws in its execution and may veer towards table thumping self-indulgence in sections but it certainly cannot be accused of a lack of passion and it is provocative in a way that is guaranteed to promote debate, whether among your friends and peers or within the confines of your own head and that is probably the author's main aim in the first place.

Written by Kevin   
Monday, 09 June 2008 13:35
 
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