Narrating History

To continue on the theme of music…

I have been thinking a lot about how history is depicted and embraced by creative narratives. History informs many novels. Sometimes it is a backdrop and other times it is the very subject of the novel. As shown in the previous post, it can also be a subject of music, or an inspiration in music. Creativity does not happen in a vacuum but is a direct response to experience or knowledge. Our present becomes the future’s history and therefore responding to it may be rather complex. Does one make it personal or general, could it be both? How exactly does one depict events that are horrific or even traumatic? And how does one respond to events without becoming too dogmatic and judgemental but at the same time respond to them from a moral position? The recent investigations into the riots in London attempt to understand or explain history as it is happening. Perhaps, we are hoping to understand the present so as to make sure it will be remembered in a certain way, that it will fit in with some kind of a master narrative of Britain’s “lost decade”.

I believe that sometimes creativity allows for a different kind of memory. This year PJ Harvey was the first woman to win the Mercury Prize for a second time. I listened to her album before this was announced and I was very pleased to see something rather difficult being recognized as an outstanding contribution. By difficult I mean that the subject of the record is difficult, rather than than the music itself. Harvey deals with the darkest aspects of our present lives in sometimes rather horrific depictions. I was listening to the album on my way to the Grossman events in Oxford in September and the words: “death was everywhere, in the air and in the sounds coming off the mounds” took me straight to Stalingrad. BUT this was not written about a safely distant past but about our present. It made me wonder, what will people think of our era when they look back on this album?

What most fascinates me about this album is how listenable it is. Harvey explains this very well and I think her observations are very representative of a lot of art and fiction. I can both see Iurii Dombrovskii’s approach to literature where he depicts the Great Terror of 1937 through a very creative and uplifting language (more on that later). And the work of Grossman who depicts war through the “human emotional perspective” (Harvey’s words). In the interview with The Guardian below, Harvey explains the need to make the music on the album rather uplifting to support the heavy and dark lyrics. The interview is very interesting and it makes me happy to see such wonderful artists out there who respond to the traumas in our world by giving this suffering a voice.

I love the way that she suggests that the album belongs to the times and not to her. I think that shows the elusive nature of creativity, which is born within an individual but exists independently outside that individual.

I thought I would also attach a song from the album as an example and it is so hard to choose one. I’ve decided on the clip below as it is a performance in front of David Cameron and involves a little confrontation. Go Polly!

WWII in Song

I have written quite a bit about the battle of Stalingrad and its depiction in Grossman’s work. So I thought I would put something a bit different now. It is still war but depicted by someone very different to Grossman. I found this song when I was studying History at school and it made an impression on me then. I find it quite odd that someone would use the Red Army as a subject for a song, but it is also nice when music takes some interest in history. Apparently the song was based on a book by Viktor Muravin called A Diary of Vikenty Angarov. I like the idea that literature or history inspires music. Funnily enough though, the wikipedia page devoted to the album from which the song below is taken, explains that the album itself is a reference to another novel, something of which Mike Scott was unaware of.

Sometimes it seems one can be influenced by something or refer to something of which one is unaware. I wonder whether the band Beirut were aware of what exactly they meant by the title to their album “Gulag Orkestar”. But then, does it really matter? One can go down an endless route of titles, especially as controversial as Joy Division, or perhaps as intellectually challenging as The Fall.

Here is the song that narrates the story of a Red Army soldier. It reminds me of Serezha in ¬†Grossman’s two novels, as he is also a 17 year old boy at war. I chose the clip that includes the lyrics, however, please ignore the exclamation marks, the song obviously aroused a lot of emotion in the person who wrote the lyrics down.