Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh

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  • False histories

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    History is a nonfiction narrative that reads like a novel, packed with actions, emotions, and characters, in the discovery of the universal human traits; it is both considered as parts of Humanities and Social Sciences in modern academia with the beauty of literature and the authority of science. That is why history is the most potent basis of political tool for manufacturing ideology in the form of a myth. Nazism was the proverbial example of the myth as an effective propaganda that called for the unity of the Germans. But the building of myth is not confined in the Germans; it’s an in-vogue political trend across the Seven Seas, which shoehorns ambitious political ideology into a suitably fashionable story of national pride and beguiling ethnocentrism.

    Historian Michael Wood’s article “Dangerous Histories” in this month’s BBC History is the most apposite to such current revisionist view on history. In the article, his example of India, where the rise of the Hindu nationalist movement imbibes the populace with the mythical Hindu past that was claimed to be distorted by medieval Muslim conquests and British colonialism, bespeaks a danger of rewriting an untruthful history without objective facts, tempered by blind jingoism and askew ethnocentrism. In fact, such revisionist rewriting of history contributes to a powerful social cohesion of the populace  in times of national crisis. It’s really a case of mass mind-control by means of myth, the imagined history tinged with false patriotism and insular outlook on the world.

    History is a collective narrative of a people who have been together through thick and thin, warts and all, sharing the same culture in the same place for centuries. Thus, it shapes the sense of identity of the people among others. However, if history serves to berating peoples of other nations to claim its own cultural superiority over them and therefore rightful subjugation of their cultures, then history as the factual subject in the academia loses its force of truth and becomes no more than a propagandist manifesto of jingoism. Let history be history, not a legend. Maybe it is high time we invoked the spirit of the ancient Greek historian Thucydides, who put forward factual and empirical elements in historical narratives.

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  • ‘Coal Black Mornings’, by Brett Anderson – review

    Coal Black MorningsCoal Black Mornings by Brett Anderson

    My rating: 5 of 5 stars

    Albert Einstein once said, “There comes a point in your life when you need to stop reading other people’s books and write your own.” That said, the story of Brett Anderson, the founder and lead singer of English rock band Suede from London, has a polyphony of vicissitudes woven by multiple strands of existential life experience and innate artistic sensibilities which seems to give him a status fused with the wisdom of an Orwellian thinker and the suaveness of a modern day troubadour in a stylishly insouciant way. Now, on his second calling as a writer, Anderson in Coal Black Mornings tells a story of his family and himself without “the usual coke and gold discs” in such a way that it strikes the hearts of the ordinary and underlings alike who feel a burden of existential needs on their shoulders that smother their creative spirits and ambitions.

    Anderson traces the long and winding road that led him from a childhood as a sentimental boy from a poor but culturally sophisticated family. A poverty of material comforts was reconciled with a wealth of artistic sensibilities and intellectual proclivity inherited from his eccentric taxi-driving father whose saint was Franz Liest and his quiet and beautiful painter mother who used to make clothes for him and his elder sister. He evokes the grim, bleak, and dreary scenes of very real urban poverty in which a lack of money can make you feel debagged and insignificant, but he does not hold grudge against the discomfort of such poverty because it became a part of his inspiration for his music that empathizes with the feelings of others in distress. Anderson charts the wandering romance of loneliness and creativity in an existential reality where his wings of artistic aspiration were often clipped by chains of subsistence. It’s a literary catalog of his ongoing journey of life, a personal treaty on the depth and breadth of his life so far, which the author wants to dedicate to his son who will continue a saga of his beloved family.

    This is a heartfelt, sincere memoir of an artist who tells it all about himself in hope of chiming the bells of emotions of readers whose life stories share the same elements of existential life when they collide with ideals and dreams that are universal in kindred spirits all around the world. Coal Black Mornings is a literary kaleidoscope of one man’s vicissitudes of life, many of which illuminate the glory of being beautifully misfit in materialistic society. Anderson said that this book was primarily written for his son and that any form of public accolade would be a bonus to him. He was right because the book told me that I wasn’t alone and that I am not alone by feeling misfit. Here we come, the beautiful ones.

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  • ‘Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee’, by Casey Cep – review

    Furious Hours: Murder, Fraud, and the Last Trial of Harper LeeFurious Hours: Murder, Fraud, and the Last Trial of Harper Lee by Casey Cep

    My rating: 5 of 5 stars

    The theory of “When the legend becomes fact, print the legend.”might have been a rule of thumb in the Wild West, but that was anathema to Harper Lee, the Pulitzer Prize-winning author of To Kill a Mockingbird, which has become an epoch-defining classic in the canon of American literature.With her restive independent spirit that knew no compromise with tampered artistic sensibilities, Lee labored and waited until she found satisfactorily truthful narratives on her own, no matter how much time it would take. This journalistic trait of authorship combined with intellectual conscience could have been a reason that Lee, despite criticism of being a one-hit wonder, chose not to chase successive fame and discontinued what might have been her next best oeuvre called The Reverend. Casey Cep discovers Lee’s unfinished work and brings it to life and offers an unbiased portrait of one of the greatest American writers in this ambitious Furious Hours.

    Furious Hours is composed of three parts: Reverend Willie Maxwell, Attorney Tom Radney, and Harper Lee. Reverend Maxwell was a black provincial Baptist preacher accused of killing five of his family members allegedly by means of Voodoo magic for insurance money in the 1970s. Into this courtroom drama entered a clever and magnanimous Alabaman lawyer named Tom Radney, who helped the reverend to be acquitted of the murder charge, but later found himself defending the killer of his former client. It was an irony of Fate, tragedy and comedy of a drama called life. The trial of the murder of the reverend was also a reprisal of the courtroom drama of To Kill a Mockingbird, where a black dependent was represented by a liberal white attorney. This real-life scenario in her beloved native Alabama piqued Harper Lee’s curiosity, and she decided to write a book called “The Reverend” by attending the trial herself. Cep introduces the elements of the trial in the discourse of the backgrounds of the trial as though she traveled back to the time and witnessed it all like an intelligent, observant time traveler.

    Although Furious Hours is primarily about the forgotten case of the Reverend that was something of an OJ trial of the day in the context of regarding a black defendant and white legal bureaucracy, its linchpin behind the facade of the drama is Harper Lee, who thrived at the expense of Nella Harper Lee, an ambitious intelligent writer who moved from a big house in Alabama to a rent-controlled apartment in the New York City to pursue a literary career. It seems to me that Lee was disillusioned with the glamor of the city literati scene that looked priggish and stuffy. Her peers dismissed her book as a one-hit wonder and criticized it for being a lesser of serious literature. Notwithstanding this asinine and supercilious criticism, Lee did not conform to public demand of the next bestseller by declaring she had “said what I wanted to say and I will not say it again.” Lee was in fact a writer who wanted to write a book with universal themes of human life, not bound by a vocation of regional specialty of “Southern” cultural backgrounds littered with sinful racism. She was a writer struggling to live up to her literary principle and personal conviction that her contemporaries did not appreciate. Maybe that’s why Cep introduces Lee in the last of the three parts of the book in the sense that a fashion designer always walks the runaway last in a fashion show escorted and applauded by models, staff, and spectators.

    Furious Hours is a fine act of literary ventriloquism fused with Lee’s story-telling voice in Cep’s own narrative, which results in this ingenious creative nonfiction. It is a wonderful collaboration of two writers, a predecessor and a successor, bound by the magic of literature, transcendent of time and space, just as Leonardo da Vinci’s “Grand Horse” was superbly completed by Nina Akamu centuries later. This book will have more admirers of Harper Lee’s literature and new admirers of Cep’s feat of narrative skills that grasp the attention of the reader cap-a-pie.

  • Will to meaning – chapter 9

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    All strange and terrible events were welcome, but comforts she despised. And there was nothing left remarkable beneath the visiting sun. It was just her wish that was father to the thought; the thought that the man would be interested in her and talk to her. But it was just a foiled dream, vain hope, blind passion, and cruel deception. Iris was left all alone again. Francis Bacon regarded anyone delighted in solitude as a wild beast or a divine being, and Iris wanted to think of herself as a divine being because she could not bear to accept the fact that she was left out of warmth and love of humanity, and that she was perching on the brink of social isolation as a recluse. It was safe that way to protect her already bleeding heart and bruised soul from the acknowledgment of reality. The world had never seen so perilous and cruel to Iris, who began to doubt that human nature was selfish and violent.

    Sitting at her desk at home, Iris was watching the chariot of Apollo moving toward the grand horizon to return to his celestial palace. She wanted to put her soul into the world of writing, but the words became all hodge-podge in bottomless chaos. Now all the forces of darkness were unleashed from an abyss of her inner world and trying to infest her mind with all lies that began to gnaw it till she collapsed in despondency. The age-old self-consciousness felt renewed and resuscitated, egged on by the diabolic echo that everything was set to work against her and that all things would end in naught. Her intention to write was about to be erased from a tablet of her mind, as well. ‘What good will it be when my writing will always reverberate with sighs and more sighs because it is not as polished as her admiring writers?’ Then all of sudden, Voice of Reason began to speak, breaking the silence of gravitas: “Iris, let nothing disturb you, let nothing disparage you because you are indeed a good writer who writes the language of the heart and the mind. Forget the supercilious rabble raving about immaculate textual aspects of writing, for they are blind to see the essence of writing that possesses the soul and the mind of the writer. Remember Tolstoy, who was himself poor at grammatical respects of writing. So was Jane Austin, who was a weak speller. Focus on opening up the treasures kept in your Wunderkammer in writing.”

    Whether it was just an imagination or a last thread of will to write was open to a myriad of questions. But Readers, that was what sprang from her mind when Iris wanted to surrender herself to the end of hope, to the abandonment of everything she had tried thus far, and to the killing of her near-forsaken self. And yet, it alleviated acrid heartaches that tormented her like a huge carbuncle and saved her from falling into a bottomless pit full of fire consuming her everything to ashes without mercy. Iris wanted to preserve a sense of purpose and a tenacious grasp on her hopes, thinking that present fears were less than horrible imagining. Then she ceased to die.

  • ‘Bad Ben – The Way In (2019)’, by Nigel Bach – review

    I don’t know why I am drawn to this bold middle-aged curmudgeon named Tom Riley, who fashions himself to be a self-professed paranormal investigator. While I liked the Mandela Effect one about which I even wrote because of its refreshingly ingenious takes on a genre of horror film, it never occurred to me that I would be contracted with the uncanny charm of this ireful, cloddish Jersey man’s fiasco of battles with a legion of nine demons commandeering in the same beautiful house to no end. That’s the gist of this hilariously polished offbeat film about Tom Riley, the alter ego of director Nigel Bach, and that’s why he returns with his own legion of demons in this ‘Bad Ben – the Way in.’

    In this installment, Riley goes back to the haunted house of which he was a former owner to rid the demons thereof at the request of a new owner before the family moves in. He accepts the offer for none other than an existential need of money, hence the repertoire of his wrestling with the demons begins: the toy girls still wreak havoc of already edgy borderline neurotic Riley with seven other demons, introducing Clown and Voodoo dolls that look irritatingly menacing without diabolic charisma. Well, that’s the point of this new film by Bach, who seems to render the ambiance of irony fused with comedy and tragedy, which is another stance on life itself according to his view of reality. At least, that is what Bach visualizes his way of weltanschauung with go-aheaditiveness and hubris even though the motives are for lucrative rewards. But then who will pillory the man in need when we all need it to get by?

    Mad, bad and bold Riley is here again to do his job, and he does it with his trademark dour humor and grumpy face that render his continuing saga of ghost-busting all the more realistic and business-like, which is all the more refreshing and oddly attractive and highly addictive. If you do not like the person of Riley for his ill-temper at his worst, you can appreciate his resilience, optimism, and courage against the forces of evil at his best. This is Bach’s finest hour.

  • grand fanfare for the heart

    Sometimes, life surprises us with its unexpected in-between amuse-bouches when all seems drab and dreary. So here was something bright and cheery for my routine existential life; my letter to the editor of  BBC History Revealed was published in this month’s issue. AWESOME!

    I was reading it on my Kindle Fire on the train and was delighted to read my own writing in print. It was written following my reading on celebrities who had fought in wars featuring on the June issue of the magazine. The original letter is as below, but the last paragraph was omitted in print.:

    Dear Editor:

    Although it isn’t about a celeb served in WWII, I would like to stretch the time and the theater of war to further and farther because the following celeb is worth noting.

    James Garner was an excellent actor as well as an exemplary citizen. His major roles in “Maverick” and “The Rockford Flies” commanded his screen presence carved in the American television firmament with his rugged good looks and no-nonsense parlance that embodied proverbial American machismo. But what the public eyes saw in the actor was a reflection of his virtues: Garner was a decorated Korean war veteran, a recipient of Two Purple Hearts for his selfless service, valor, integrity, and honor demonstrated as a US Army private assigned to a combat team which sustained heavy casualties. In fact, Garner sustained several wounds on his face and hands resulting from shrapnel and a mortar round. Nevertheless, he was a fearless warrior in its true sense and threw himself against the showers of bullets to save his wounded battle buddies and to accomplish his missions with all his might. After the war, Garner pursued his career in acting and began to star in a number of war movies, such as “The Great Escape”. James Garner was a man of respect and honor.

    Thank you for your reading! By the way, I am a subscriber to your magazine living in California. I enjoy reading every issue thereof during my lunch hour and commute to and from work on the train.

    I am planning to get hard copies of the magazine as a keepsake and for distributing them to my family and friends. I am also glad to know that a magazine like BBC History Revealed featured my humble, imperfect writing. It is my opinion that a British magazine knows how to educate the public with universally interesting topics in plain English and witticism with a general reader in mind in comparison with its hyper intellectual transatlantic counterparts.

    I am writing this on my Blog, so that I can remember in writing that it happened and that my writing was communicative to the editor despite my textual foibles. Nevertheless, I have the temerity to write in English to speak of Reason and Taste for its being a lingua franca, a modern-day equivalent of Akkadian. With timeless adages of George Orwell, Ralph Waldo Emerson and Kurt Vonnegut as patient and encouraging ethereal guardians, I write for sheer egotism of making my soul grow and expressing myself to the world, come what may. For this reason, I want to pat myself on the shoulders 🙂

    hrev