by Clive James
The East Coast foreign policy elite had large powers of discretion in uniquely favourable circumstances, at a time when their initiatives could palpably alter the world. They were cultivated men, many of them of formidable intellectual and scholarly prowess: they did an impressive job of keeping their heads. But it was inevitable that they should fall prey to the sin of pride, which is at its most insidious when dressed as destiny. As I write, the elite is in its last phase, where it begins to forget the car keys through the effort of remembering the door keys. My mentor Gore Vidal is a case in point. He has forgotten that he was born and bred as a member of the very elite whose evil deeds he castigates in his brilliantly written polemics. The way he remembers it, the elite was even more powerful than it was in reality. In 2001 he published an article in the TLS by which he managed to suggest that the foreign policy of the United States tricked the Japanese Empire into a war in the Pacific. With some reluctance I tried to rebut that contention in the paper’s letters column. Clearly he took exception to a pupil’s rounding on him. But as an Australian I had a good reason. Though Australia’s own foreign policy sometimes tries to give the impression that the country’s future is bound up with the wholesale burgeoning of the region called the Pacific Rim, this glittering dream could not even be dreamed unless in the presence of a seldom spoken-of reality—the reality of a liberal democratic Japan. In view of this indispensable condition, nothing should be done to favour the belief of Japan’s ever-hopeful right wing that it was tricked out of military power by the machinations of Washington. Japan went to war on its own initiative. The reasons went far enough back to look inevitable, but when it came to the point, the Japanese government, such as it was at the time, could have done something else. The same is rarely untrue anywhere in the world. It would help if the world’s very large supply of anti-American commentators could decide on which America we are supposed to be in thrall to: the Machiavellian America that can manipulate any country’s destiny, or the naïve America that can’t find it on the map. While we’re waiting for the decision, it might help if we could realize the magnitude of the fix that America got us out of in 1945, and ask ourselves why we expect a people rich and confident enough to do that to be sensitive as well. Power is bound to sound naïve, because it doesn’t spot the bitter nuances of feeling helpless. The East Coast foreign policy elite were as bright as could be. In their young manhood, they had seen a lot of the world in which America, they correctly guessed, was bound to play a big part, although not even they could guess how big. They had the mental resources to sound as sophisticated as Talleyrand and Metternich put together. If, in retrospect, they look like big, clumsy children—well, they didn’t yet know what it was like not to get their way.
ZINKA MILANOV
Zinka Milanov was born Mira Teresa Zinka in Zagreb in 1906, and died in New York City in 1989, after a long career as one of the Metropolitan Opera’s most beloved sopranos. When she retired from the stage in 1968 she had sung a full twenty-nine seasons in New York, to which she had migrated from Europe at the end of what she later called her “lucky year” of 1937. After a preparatory decade of hard work in the Yugoslav and Czechoslovak opera houses, her lucky year had included her debut in Vienna, starring in Aida for Bruno Walter. Walter’s recommendation got her an audition with Toscanini for the Verdi Requiem in Salzburg, but her American career was already under way, because she had a contract with the Met in her pocket. She made her New York debut in December 1937, three months before the Anschluß. A whole political study can be made about what happened to European musicians and singers in the Nazi era, but we should not ignore that America had its attractions even before the event: a striking instance of the power of American cultural imperialism, which, even in the high arts, already shaped, from the angle of consumption, the world of classical music as it shaped the world of painting. (That the angle of consumption would eventually determine the angle of production was not yet evident.) All of them made for American labels, Milanov’s recordings date from the second part of her career—she was already forty before she stepped into a studio—but they can be recommended as dazzling events for anyone making a start on grand opera. A born mezzo who added her top notes later, she had a voice as rich as blackberry juice in the middle, with champagne sparkling in the upper register. Beginning listeners should avoid boxed sets of entire operas, in my opinion: it is too easy to nod off before the fireworks start. The thing to go for is what used to be called “highlights” records. Milanov singing the showstoppers from Tosca (with Jussi Bjoerling) or Il Trovatore (with Jan Peerce) should be enough to get anyone addicted to opera straight away. Because singers lead very physical lives, what they have to say about the art they practise tends to be refreshingly down-to-earth. Zinka Milanov said something which, if quoted at the right moment, can come in handy for interrupting the momentum of anybody who is dragging too much technical information into the discussion.
Dollink, either you got the voice or you don’t got the voice: and I got the voice.
—ZINKA MILANOV (ATTRIB.)
THE VOLCANIC SOPRANO had grown stroppy with an interviewer who badgered her too long on abstruse questions of vocal technique. In her moment of impatience, Milanov produced a nice variation on Duke Ellington’s “It don’t mean a thing if it ain’t got that swing.” I have never been able to find out when she actually said it, or to whom: a standard item of operatic folklore, it had gone from mouth to ear a million times before it got to me. Perhaps every word was wrong. But the idea had clearly remained unaltered, because any artist will say roughly the same thing if bored too long. At the National Film Theatre in London in the early 1960s I heard Jean Renoir say something similar to a questioner who had burdened him with a long analysis of one of the crane shots in Le Crime de Monsieur Lange. Renoir said that he made a point of forgetting about technical problems once he had solved them.
In a later generation, film directors became less inclined to forget anything. When a pyramid of explanatory journalism builds up around an art-form it is easy for a practitioner to become so impressed by his own entombment that he starts breathing the rarefied air and relishing the dust. It would happen to trail-bike champions if the media cared. It happens to film directors because the media care about almost nothing but the movies. The movies are as fascinating as a war, and the directors are the generals. There are very few people with the logistic ability to organize a battle between a bunch of averagely talented actors and a computer-generated army of trolls: when such a man is told that he is Michelangelo reborn, he finds little evidence to help him disagree. He soon forgets that he has almost no detectable talent beyond getting other people to combine their talents in accordance with his wishes. Singers, on the other hand, have the advantage of being kept fundamentally humble by the personal, individual and directly physical nature of their gift. Zinka Milanov had a gold-rush chest-voice that practically brought her body along with it when it soared into the grand circle. Quite a lot of that she could do when she was fifteen.
Apart from the very rare exception like Rosa Ponselle, singers must have their voices trained if they are ever to sustain a career beyond the first week. But there is still such a thing as talent, and finally, as initially, it is what matters. There were plenty of singers in Callas’s generation who could do what she couldn’t: make a transition from the upper register to the middle register without showing the join. But even in the later part of her life, when her upper register was in tatters, she could come powering back into the middle register with a hot roar that boiled the wax in your ears. She made a drama of it, and that was her talent. In her master classes she would try to show how it was done, but her pupils could never learn her unique trick of turning up the voice’s darkness like a light as she plunged like a returning space shuttle into the stave.
Nijinsky got all his master classes over in a single line of explanation. When he was asked about the technical secret of his jump, he said: “I merely leap and pause.” (Either you got the
pause or you don’t got the pause.) With all this said and insisted on, however, it should be remembered that the idea that there can be an unstudied, perfectly spontaneous art is an idle dream. Zinka Milanov was merely seeing off a pest when she made her most famous statement. It was true that she had been born with a beautiful voice. But her voice had been trained from the moment its quality was detected. At the Zagreb Academy of Music she spent an entire year on nothing but exercises. For her first Trovatore Leonora, sung in Croatian, she prepared for two years, working on each page a hundred times, note by note. This hard curatorial work went on all her life, even after her retirement from the stage: as a teacher, she stayed in training. She was right to say that she “got the voice,” but the essential counter-statement was given in an interview she granted to the magazine Étude in 1940, when she said, about singing well, that “the attainment of this goal is a full life’s labour”: a dull truth, but true for all the arts. (Prodigies like Rimbaud merely have their full lives early.) It’s more fun to talk about amazing talents, and indeed they exist. But the real miracle is the work that goes into fostering them. In movies about artists, that aspect is usually dealt with in a montage sequence two minutes long, because even a hint of the real labour that goes into improvement would take an hour of screen time at the very least. For that one reason, there will never be a credible movie about the making of an artist. Interior concentration doesn’t translate to the screen. Exterior impact does. For just a moment, Zinka Milanov was a Central European actress delivering a line in a Hollywood movie, like Zsa Zsa Gabor. The line played well but it was only half true. The true version, however, wouldn’t play at all. “Artistic talent is indeed a gift from God, which the artist is obliged to match with the gift of his life.”
CZESLAW MILOSZ
Czeslaw Milosz (1911–2004) was born in Lithuania and grew up speaking Polish. In 1934 he reinforced his career as a poet and freelance writer by taking a law degree. As a contributor to radio he got into trouble under the pre-war right-wing government for his left-wing views. Under a more ruthless regime, his experience at dodging official opprobrium came in useful when he wrote for the underground press in Nazi-occupied Warsaw. Representing post-war Communist Poland, he was a diplomat to the United States and, in 1950, to Paris, where he asked for political asylum. He spent ten years in Paris, and students of his writings will often get the sense that he was later more comfortable having his Polish translated into French than into English. In 1953 he published The Captive Mind, a bitterly disillusioned analysis, from the inside, of the influence of Marxist orthodoxy on his generation of idealists. The book, which students should regard as essential reading even today, can now be seen as an early blow at the foundations of the Warsaw Pact. Written before the Berlin Wall went up, The Captive Mind was a key factor in eventually bringing it down. At the end of his decade in Paris, Milosz left for California, where he became established as professor of Slavic languages and literature at Berkeley. In 1980 he received the Nobel Prize, and after 1981 his writings began to be published in Poland: not all at once, and seldom without official doubts, but inexorably. For the regime in its long final crisis, Milosz’s international prestige was just too big to ignore, like the Pope’s. Milosz wrote poetry, essays and political analysis as if they were all in the one medium, a genre beyond a genre. From the technical angle, this now looks like the next breakthrough after Ortega, early in the century, identified the newspaper article as a vital medium for serious thought. The genre beyond the genres had already been established by Milosz’s fellow Polish-speaking exile Gombrowicz but nobody pursued it with quite the copious fluency of Milosz, whose poems and esssays flow into each other as if they belong to the one river system. John Bayley, in his useful introductory essay on Milosz collected in The Power of Delight, says, “By writing in every form, he writes virtually in one: and he instructs in all.” Milosz had a wealth of personal experience to base his instruction on, much of it tinged with remorse. As with Marcel Reich-Ranicki, another future liberal who was a servant of the Polish Communist regime after the war, the supposed puzzle of Milosz’s unfortunate allegiance can be quickly solved: the Poles had no reason to trust anyone. With his background so thoroughly poisoned, the miracle of Milosz’s writings is his range of fellow-feeling: he can talk about modern history and the contradictions within liberalism as if we, his listeners, had been made wise by the same childhood.
The scriptures constitute the common good of believers, agnostics and atheists.
—CZESLAW MILOSZ, Visions de la baie de San Francisco, P. 224
THAT THE BIBLE, for a Western civilization, is the common good of believers and non-believers ought to be obvious, but for some reason it is a truth hard to see except when that same civilization is at the point of collapse. Milosz had seen a civilization collapse: like any of the post-war Polish writers awarded the privilege of growing to adulthood, he had been obliged to wonder whether a national culture can be said to have any roots at all after the nation itself has been obliterated. It has to be remembered that the typical Polish writer was Bruno Schulz. But for that to be remembered, Bruno Schulz has to be remembered, and the main reason he was so easily forgotten is that a Gestapo officer blew his brains out. It happened in the Drohobycz ghetto in 1942, when Schulz was only fifty, with the best of his career ahead of him. Schulz’s little book The Cinammon Shops had the promise of a genius that would take time to realize itself, because the nature of time would be one of the things it would define. Even if he had never written a word, he would have been a hope for Poland’s future just for how he could paint and draw. He was a walking fountain of talent, and the flow was stopped almost before it started, by one bullet in the right place. But at least he was heard of. Among the younger elite obliterated by the Russian firing squads before the Nazis even arrived, there were probably more like him. There were certainly more in the Warsaw ghetto, where the cultural life (plangently evoked by Marcel Reich-Ranicki in his long interview Der doppelte Boden) was like a university of dreams. Alas, the university had a direct rail connection with the slaughterhouse, and all that beautiful promise went into smoke. It took Roman Polanski, by his very existence, to remind us of what had ceased to exist: a whole generation of young talent was destroyed, and if Polanski had not been blessed with an inconspicuous personal appearance even he would have shared the fate of his mother. When the war was over, the memory of all this was not: for the artists who had come through, the pit was only a step behind them. When they looked over their shoulders, they could see right into it. In that direction, there was little else in view, except rubble. Milosz was living with that knowledge when he said this about the scriptures.
Looking for something to count on, he found the Bible in the ruins. For us, blessed with a more comfortable set of ruins—even if the streets are more dangerous, most of us live better now than we did in the houses we grew up in—there seems less to be afraid of: we can persuade ourselves that history is a linear development, in which even the eternal can become outdated, and be safely forgotten. Perhaps our own catastrophe will never come in any readily intelligible form, so it will never matter if there is nothing to go back to, no past to legitimize the permanent present, which will legitimize itself by doing us no evil except by its puffball bombardment of triviality. There is always the chance that our confident iconoclasts are right. Milosz is telling us not to bet on it, but perhaps he was unlucky. Like the Polish intelligentsia that was wiped out half by one set of madmen and half by another, he was just caught in the squeeze, and had his heart broken even though his body walked away.
You can be a non-believer, however, and still be amazed at how even the believers are ready to let the Bible go. In England, the most lethal attack on the scriptures has been mounted by the established Church itself. The King James Bible is a prose masterpiece compiled at a time when even a committee could write English. The modern versions, done in the name of comprehension, add up to an assault on readability. Eliot said that the Revised S
tandard Vesion was the work of men who did not realize they were atheists. The New English Bible was worse than that: Dwight Macdonald (his hilarious review is collected in his fine book Against the American Grain) had to give up looking for traces of majesty and start looking for traces of literacy. Those responsible for the NEB probably did realize they were atheists: otherwise they could scarcely have been so determined to leave not one stone standing upon another. For those of us unable to accept that the Bible is God’s living word, but who believe that the living word is God, the successful reduction of once-vital language to a compendium of banalities was bound to look like blasphemy, and the perpetrators like vandals. When I joined in a public protest against the rejigging of the Book of Common Prayer, a practising Christian among the London editors—it was Richard Ingrams, editor of Private Eye—accused me of being in bad faith. He hated the new prayer book even more than I did, but thought I could have no reason for sharing his contempt. But it was my book too. I had been brought up on the scriptures, the prayers and the hymns. I had better reasons than inertia for deploring their destruction. Milosz had the same reasons. The scriptures had been his first food. For me, the scriptures provided a standard of authenticity against the pervasive falsehoods of advertising, social engineering, moral uplift, demagogic politics—all the verbal corruptions of democracy, the language of illusion. But for Milosz, the scriptures provided a standard of authenticity against a much more dangerous language, the language of legalized murder. We have to imagine a situation in which the state was so oppressive and mendacious that the Church looked like a free institution, and its language sounded like the truth. Milosz was well aware that the record of the Church in Polish politics had not been brilliant. One of his many braveries, post-war, was to give an unflinching account of Poland’s institutionalized anti-Semitism, a strain of opinion in which the Church had always been implicated. We should also strive to remember that any German lover of his Bible must cope with the knowledge that its classic translation was the work of Martin Luther, whose loathing for the Jews was well up to Nazi standards. But we are not talking about our love for a Church, whether Catholic or Protestant. We are talking about our love for a book, and what we love is the way it is written. Rewriting it is not in the realm of the possible, and any attempt to do so should be seen for what it is: the threat of destruction.
