Thursday, 10 April 2014

To my university tutors...

If only our indoctrination was this inventive...

Or at least, to some of them. I have just one question for you; just one. It's a small question, so you'll probably approve; nice and concise. So short, in fact, that its answer seems to have passed you by this year. My question is this: what do you want me to do? I mean this not in an obsequious, genie-of-the-lamp kind of way, you understand, but as a genuine query. It's something that has been bothering me for some months now, and as I think you'll agree upon its importance, I'd appreciate some level of understanding.

Here are my observations. Since September, we have been taught a reasonable quantity of facts; not, perhaps, as many as might have been possible, but probably enough to pass the exams. We have been taught also what these facts mean - and this is where I must begin to take issue. Because if there was one thing I didn't expect to encounter upon coming to university, indoctrination would be it. Yet in every lecture - and to a lesser extent seminars - we have been told what to know and what to think about it. Nobody has taught us how to think. Honestly, we've barely touched upon how other people do it, let alone considered the venture for ourselves.

The opinions of established historians are 'better,' apparently; or, to quote one of my tutors (who also happens to be a module organiser), "more good". I wish I was joking. I understand the premise here, of course; that those who have dedicated their lives to the study of a select topic ought to constitute a more reliable reference point on the matter than an undergraduate who happens to have taken into their head the same interpretation. That's fine where facts are concerned, but what about once we've read the books? Once we know all we need to in order to write the essay, might we not be allowed to think then? I'm not saying we're experts, of course not. But I think we're informed enough to at least think for ourselves a little.

Alas, no. Once all the materials have been devoured and the fingers are poised at the keyboard, ready to regurgitate them back at the tutors who recommended them in the first place, there is apparently nothing left to be done but write. No further consideration is required, beyond deciding which side to take in the argument between 'proper' historians. What if you don't agree with any side? Make an arbitrary choice, and argue it as well as you can. Nobody cares what you really think, they care only that you know what you ought to. It feels like school all over again, when, in the midst of protestations that such a thing was surely impossible, we were taught that the electron has no mass. In fact, I can personally attest that trying to include some element of independent thought, for example in an essay, can actually result in lower marks. It seems absurd that even at this stage in our education we are being discouraged from using the very organ that got us there, but unfortunately, that is how things stand. As a history student, I can honestly say that I have learned more about my subject outside of teaching hours than during them. Such a state of affairs is beyond regrettable; it is unacceptable.

'Rage, Rage, Against the dying of the light' was not written about intellectualism in higher education, but it might have been. That which Shelley feared in An Exhortation has come to pass: "Yet dare not stain with wealth or power / A ... free and heavenly mind" he wrote, but apparently his plea to "refuse the boon" fell on selectively deaf ears. It is as Professor Trefusis mocked in The Liar: "A university education should be broad and general. But these students are being trained, not educated. They are being stuffed like Strasbourg geese. Pappy mush is forced into them, just so one part of their brains can be fattened. ... It's regrettable and there's little we can do about it."

It present, it does seem that Trefusis is correct: there is little we can do about it, save fill our spare hours with self-education and resist the determined pigeon-holing we are forced into as we progress through the education system. It is not nearly a good enough solution, but it is, perhaps, the start of one.

The Sherlock Fandom

Hopefully this picture makes up for what you're about to read...

I would be the first to admit that I am a Sherlock fangirl. (That's the show, not the character, if you were wondering about the italics...) Not the worst, but not as far from it as I'd like either. But something about this fandom really drives me insane - and it isn't Benedict Cumberbatch. Now, don't get me wrong, I think he's a good actor and in all probability the best choice for the role. But that's just it; most of my fellow fans seem incapable of getting any further than staring witlessly at the screen every time he so much as blinks, let alone appraising his actual performance merit. I find it ceaselessly frustrating that I seem to be one of the only people watching this show for other reasons than hormonal, that's all. By all means, continue as you are! But please, show a little mental diversity? Would it kill you to look beyond the face and appreciate the plots, the effects, the acting, the scripts, anything else at all? This rant, incidentally, is inspired by just such comments about the very picture you see above, to which the primary response on a particular popular-but-waning social media site was to the effect of 'Lucky teacup!', followed by far too many emoticons (if that is still the term du jour for such symbols?)

Personally my favourite character in the show is Mycroft. Maybe he doesn't have cheekbones you could cut yourself on, or hair that belongs in a shampoo advert, but the depth and complexity of his character is infinitely more rewarding. Watching the character develop, learning more about him and coming to understand the thoughts behind his actions has made the show a far richer experience for me than it would have been otherwise. But let's look at the others for a moment: Sherlock, the isolated-but-secretly-craving-friendship 'sociopath'; John, the I-couldn't-be-closer-to-the-stereotypically-loyal-sidekick; Moriarty, a crude and predictable semi-inversion of Sherlock who with every episode drifts further away from the deviously captivating original of Conan Doyle's imagining... and I won't even begin to mention Molly, who beggars description. Send her out into the world and let her fangirl with the rest of them. At least Mrs. Hudson has more than two dimensions, but her character is nowhere near central enough to make the most of this.

The show saw a radical shift in the latest series, but few seem to have noticed - and even fewer noted - this. Of course they haven't. Maybe if you took your eyes off that purple shirt for five seconds...? But it isn't nearly fresh enough in my mind to delve into that particular discussion right now, so I'll apologise for my one-sided irritability and sign off. Please don't excommunicate me, fandom?

Friday, 4 April 2014

The Epic of Gilgamesh

Not quite a door-knocker...

People always seems to remember the fact of Marley's death, but whilst Dickens had an undeniable flair for opening stories, I maintain that few subsequent writings can parallel this personal favourite:

"He came a far road, was weary, found peace,
  and set all his labours on a tablet of stone.
 He built the rampart of Uruk-the-Sheepfold,
  of holy Eanna, the sacred storehouse.

 See its wall like a strand of wool,
  view its parapet that none could copy!
 Take the stairway of a bygone era,
  draw near to Eanna, the seat of Ishtar the goddess,
 that no later king could ever copy!

 Climb Uruk's wall and walk back and forth!
  Survey its foundations, examine the brickwork!
 Were its bricks not fired in an oven?
  Did the Seven Sages not lay its foundations?

 A square mile is the city, a square mile date-grove, a square mile is
  clay-pit, half a square mile the temple of Ishtar:
 three square miles and a half is Uruk's expanse.

 See the tablet-box of cedar,
  release its clasp of bronze!
 Lift the lid of its secret,
  pick up the tablet of lapis lazuli and read out
 the travails of Gilgamesh, all that he went through."

Who reads that and doesn't feel the warm breeze blowing through their hair as they survey the city? The worn steps beneath their feet as they climb? Who does not hear the rustle of palm leaves from their vantage point, just audible beneath the sounds of people thriving? Feels the smooth wood of the lid as they open the box, the smell of time passing as a gasp of air is released from its long-neglected prison? The weight of the tablet, the buzz of anticipation for the first word of what promises to be an epic tale?

In a few short lines, the reader is transported to ancient times, in what is now Iraq. In that instant, the story is so vivid it could almost be real - and how many authors have achieved that?