Friday, October 10, 2014

Patrick Modiano



Patrick Modiano, who has been awarded the 2014 Nobel Prize for literature, is one of the very few living writers who means anything to me on a personal level. I read a few of his novels after coming across Voyage de noces by chance about fifteen years ago and being impressed by its style and atmosphere and sense of place (but I remember thinking that it would not translate well into English).

A Reuters report quoted a comment Modiano made in a television interview three years ago: "After each novel, I have the impression that I have cleared it all away. But I know I'll come back over and over again to tiny details, little things that are part of what I am... In the end, we are all determined by the place and the time in which we were born."

Funnily enough, I have recently been trying to make a list of topics that particularly interest me, and one of them is not unrelated to Modiano's recurring preoccupations.

One item on the list runs as follows: The contingent (and unrepeatable) features of any individual's upbringing – which includes as a central element a unique and ever-changing cultural matrix – raises awkward questions about values. We like to think of our core values as being, if not objective or universal, then at least as having some permanent or abiding relevance. But do they?

I was thinking here of both aesthetic and moral values, by the way. Though certain very basic moral – and even aesthetic – ideas could be seen to have universal applicability, particular patterns of moral and aesthetic commitment (involving priorities and preferences) seem far more contingent on time and place and culture.

(My previous post also touches on some of these themes.)

Sunday, October 5, 2014

Sentimental education

Perhaps it has got something to do with having a father who was considerably older than my mother – and who himself was regularly mistaken for someone of an even earlier generation than the one he in fact belonged to – but I have always felt more culturally connected to times previous to my own. I am drawn, for example, to the intellectual culture of the early-to-mid 20th century, and to the latter part of that period for popular culture.

As a young undergraduate, I always used to prefer the late-in-the-day tutorials scheduled for the benefit of part-time, 'mature aged' students. They came on their way home from work in the city, the men in suits, the women smartly dressed and smelling of perfume. They knew stuff I didn't know and had strong opinions about things I had never really thought or even heard about.

There was a woman in her late twenties perhaps whom I used to talk to a lot when I was in my second year. She seemed slightly old-fashioned, out of her time somehow. And it turned out that she had quite – unusual – ideas.

For she had something of an obsession with someone I had only vaguely heard of, someone who was obviously a hero for her and who represented an apparently lost but (in her eyes) glorious cause – the fascist leader, Oswald Mosley. But politics (or political history) was not something I had strong opinions about at the time, and I just took her views as one aspect of a slightly odd and intriguing personality.

Not only the student population but also the academic staff (in stark contrast to today's equivalents) reflected a variety of political and social views, from left to right to totally apolitical.

I took a course on W.B. Yeats which influenced me quite deeply. It was taught by a Hungarian who had written a dissertation at Cambridge on 18th-century English gardens and who was very much in sympathy with Yeats's fin de siècle aestheticism as well as his general political tendencies and social views.

As a young student, I was – like the typical student character in a 19th-century novel – almost drowning in Romanticism. Wordsworth, Coleridge, Shelley, Emily Brontë, Gérard de Nerval, Baudelaire.

Two French novels I read around that time, Adolphe by Benjamin Constant and L'Education sentimentale by Gustave Flaubert, were each centred on a relationship between a younger man and an older woman: dark unpleasant books both of them, but strangely alluring. They and other Romantic texts coloured all my interactions and relationships (or non-relationships!) at the time.

Everything – especially everything female – was seen by me through a kind of literary lens which in retrospect I could have really done without. All that Romantic and pre-Raphaelite baggage made me quite as blind to immediate reality as (in a rather different way) the Mosleyite woman was.

In subsequent years I have come to reject just about everything associated with the Romantic movement. Except one thing, its one true – and overwhelmingly important – insight into the nature of reality: that, morally speaking, the natural world is value-free – there are no values in nature.*

The 18th-century philosophes saw themselves as science-driven and enlightened thinkers, but their deism perpetuated classical notions of a divinely guided universe. Ironically, it took the radical (and often self-consciously emotional) upheaval of the Romantic period to clear the way for a truly scientific and secular view of the world.



* Of course, I don't mean to deny that living beings have values and human beings have moral values, and that we constitute part of the natural world. But since the Romantic period it has been much harder to maintain the view that human values are somehow reflected in – or derive from – non-human realities, whether natural or supernatural. (This point – or one very like it – was made by Isaiah Berlin.)