Posted on by Ken Bell

Coster living

Beer-makers, Clapham Common, 1877. Wikimedia Commons

Street Food: Hawkers and the History of London

Charlie Taverner, Oxford University Press, 2023, 256pps, £30
KEN BELL remembers the street-traders who fed a burgeoning city

The image of London street food is a trendy one, with well-paid hipsters eating what they sweetly tell each other is authentic, usually ethnic, food that is purchased at a high price from a sleek metal catering caravan that has an expensive license to trade. However, for generations until the middle of the last century, as Charlie Taverner shows, street food was how the bulk of Londoners got their daily sustenance.

Many of them had no choice, because as London expanded, the established markets ever became further away from the new centres of population. A large number of people lived in rookeries, such as the monstrous one that existed quite near to today’s Regent Street, where they lived several to a room with little or no cooking facilities apart from, perhaps, a fireplace in the kitchen if they were lucky. So street hawkers enabled the urban poor to keep body and soul together.

Mrs. Hunt, selling at Covent Garden, 1923

The capital outlay needed to become a street hawker was very low, as a large wicker basket could be obtained for a small sum and the apples or other fruits needed to fill it being readily available at the Covent Garden market. Consider Mrs Hunt who was photographed in the 1920s with her wicker basket of apples (see above). One foreign visitor in the 1600s noted that Londoners did not eat much fruit at home, but were “always munching through the streets, like so many goats”, so we can imagine that women like Mrs Hunt were selling soft fruit to theatre audiences in Shakespeare’s day. Fast forward a few decades to the Restoration, and the legend of Nell Gwyn and her oranges is well-known even today.

Pretty much anything edible was sold on the street, with herring, shellfish and eels becoming as ubiquitous as the fruits. Milk was sold by milkmaids who purchased their supplies from the owners of herds of cows that were kept in London. In the days before milk was pasteurised or sterilised, an army of maids selling the fresh variety ensured that the supplies reached the consumers in a reasonable condition.

A step up in terms of capital outlay from the baskets was the wheelbarrow, which meant that more produce could be carried and sold, including hot food, and by the Victorian age, hawkers were selling hot pies and potatoes from an oven atop a wheelbarrow. Hawkers of hot coffee also used them with a brazier of hot coals, although quite why coffee was preferred by the street sellers and their customers to tea is anyone’s guess.

Finally, we have the hawkers who either owned or rented a cart which they pushed by hand or had pulled by a donkey. These were the famous London costermongers and although Taverner accepts them as a caste apart, he really does not give them credit for just how far apart they were even from the bulk of the street hawkers. A costermonger was noted for his dress, which was invariably topped off with a large handkerchief worn around his neck called a Kingsman. A costergirl would take one of her man’s handkerchiefs and wear it draped across her shoulders for probably the same reason that a girl today enjoys helping herself to one of her boyfriend’s shirts. Costers spoke a cant tongue to each other and were largely illiterate, mathematical geniuses. They could work out how much profit was to be made for a given wholesale price in their heads and then set to work in family groups to earn it.

They had to operate in a family unit as the work was labour-intensive. Children would be put to work intermixing live eels with dead ones in the hope that the customers did not notice and others would boil fading oranges to give them the illusion of vitality. When times were bad, costergirls were not adverse to a spot of whoring, usually with their boyfriends doubling as pimps and protectors. Much of this street colour is missing from Taverner’s work, which I think is a pity, but it probably owes a lot to the fact that it was first written as a university thesis.

That said, Street Food is an excellent overview of the earnings of street hawkers and a discussion of the casual nature of the work, with some hawkers shifting from street hustling on their own accounts to working for employers when such work became available. One such man who sold whelks is quoted as bemoaning that “seafood don’t pay more than a poor living,” so when times were really bad, “he left his wife with the barrow and took odd jobs such as beating carpets and cleaning windows”.

This casual economy reminds today’s reader of London’s latest innovation – the gig economy, with the delivery riders taking the place of the street hawkers of old. If we add to them the army of men who push the unlicensed hot dog carts around the West End of London, chased by the council jobsworths in much the same way as the costermongers were harried by officialdom in their day, a good case can be made for saying that everything has changed and much has remained the same.

Posted on by Liam Guilar

Verses for a vanished town

Ravenser Odd

Michael Daniels, Poets House Pamphlets, 2022, 26 pps, £7
LIAM GUILAR admires an evocation of the eroding East Riding

This is Michael Daniels’ first collection – the traditional slim pamphlet.  The publisher, Poets House Pamphlets, of Oxford, has produced a fine object, printed on good paper, with understated, subtle artwork to enhance the text.

The story of Ravenser Odd deserves a poem. It was a settlement which lasted less than two hundred years at the mouth of the Humber on Britain’s eastern coast. A sand or gravel bank was created by storms at the mouth of the estuary in the early 13th century. By the 1230s, there is documentary evidence of people living and trading there and it was granted a royal charter in 1299. It became a very prosperous sandbank. At one point there was a chapel, warehouses, a jail and a windmill. There was a weekly market and two fairs a year. The town sent two MPs to Parliament.

The town suffered from a growing number of floods from the 1320s onwards, and the wealthier families began to move themselves and their money out. By the winter of 1356-57, Ravenser Odd had been abandoned. Then the land on which the town had stood was swept away in a final tempest in 1362. The storm, which inundated land on both sides of the North Sea, was so bad the Dutch gave it a name: the Grote Mandrenke[i].

It’s the stuff of folk tales, made better by the fact it’s true. An internet search reveals its continuing fascination. “Yorkshire’s ‘lost Atlantis nearly found’ after 650 years under water” reads one strange headline from 2022[ii]. As a story it can obviously be read in different ways: the contemporary enemies of the settlement might have seen its destruction as divine retribution. Today, it’s easy to see it as a symbol of nature’s indifference to human concerns, or a warning for those living along the same coast which in some places is being eroded at 30ft a year[iii].  Rather than pushing an interpretation, Daniels lets the story speak for itself.

The booklet is a sequence of linked poems that move chronologically through the history of the settlement. They are all written in terza rima. A note tells the reader this was chosen because “Dante’s development of terza rima was contemporaneous with Ravenser Odd’s highpoint”. If this seems an odd reason to choose a form, anyone who voluntarily writes in terza rima must be admired for making his own life difficult. The success of Daniels’ attempt is evident in the way the rhymes don’t intrude. The poems move smoothly, and there’s no sense that a rhyme has been forced or the lines padded to fit the form. The verse is spare, in keeping with the feel of medieval chronicle or folk tale.

From the start, the sequence announces that the specifics of the settlement’s history are also being used to contemplate the claims the dead have on the living. It begins:

What is it to be held in mind
by someone else, to dwell as ghost
or presence there? The drowned recline
in chambered mud, yet still we host
them in our heads, subdued and dim.
It isn’t us who need them most.

The link to The Divine Comedy inevitably evokes Dante’s concern with the dead, but it also illustrates an important difference. Dante’s dead are individuals with names and histories; Daniels are the nameless dead who remain undistinguished. “The dead know things we’ve never learned- / how hard it is to stay alive”.

The gardens they had tended went.

The cabbage rows were heaved and sloughed

as if the aching care they spent

to sow and plant was not enough,

as if the tilled and tidied beds

were cheap as salt and air. The rough

sea came and went all spring […]

Playing on the name, Ravenser Odd produces Odin’s ravens; thought and memory, who provide a bird’s eye perspective. They also appear as tiny pictures at the start of each poem.

The bird’s eye perspective means the poem deals with people, not individuals – the dead, not specific corpses. There is an unnamed feudal Lord; “…life was his to make the worse, / he was their breath, their bread, their meat”. Like most modern depictions of feudal lords, this one’s a sadist, but the strength of the writing means it’s unclear whether his story, and the story of the fishing vessel The Silver Pit which follows it, are retellings of chronicle events, or inventions of the poet.

The sea is the individuated character in the poem, and its restless power runs through the collection. When the end comes it ignores

such mortal dreams, but saved its breath

to asset strip the sinking town

of shattered timber, nail and lath-

The two ravens see the final calamity:

The people’s final prayer rose up,

petitioning their lonely god.

The ravens read their trembled lips

to scavenge scraps of uttered word,

then spat them back as raucous noise,

disemvowelling all they heard.

The pun in that last line is impressive, standing out in a collection where the diction is mostly conversational. The ruined voices of the dying and the dead are reduced to sounds the poet has been trying to hear, but which having been converted to noise, are lost. Even the final devastation of the land on which the town stood is a minor incident in a much larger tragedy. There is no conclusion, and if there is a moral to be drawn from the story Daniels thankfully leaves it up to the reader.

This is a small, impressive collection. The poet’s website (https://www.michaeldaniels.co.uk) contains files of him reading his work, with evocative visual images to accompany the readings.

[i] The death toll is placed around 25,000.  https://www.theguardian.com/news/2011/jan/20/weatherwatch-grote-mandrenke

[ii] https://www.independent.co.uk/news/science/archaeology/ravenser-odd-yorkshire-medieval-town-b2037441.html

[iii] ‘The Holderness coast, on which Spurn Point sits, is Europe’s most rapidly eroding coastline, with some areas disappearing by more than 30ft per year.’ https://www.express.co.uk/news/history/1593410/Yorkshire-Atlantis-Ravenser-Odd-Sir-Ernest-Shackleton-ship-Endurance  

Posted on by Maryann Corbett

Three ballades

MARYANN CORBETT is the author of five books, most recently In Code (Able Muse, 2020). Her work has appeared widely in journals on both sides of the Atlantic, including 32 Poems, Rattle, and the Los Angeles Review of Books in the US, and The Dark Horse and PN Review in the UK. Her poetry has won the Willis Barnstone Translation Prize and the Richard Wilbur Award, has been featured on Poetry Daily, Verse Daily, and the Poetry Foundation website, and was included in The Best American Poetry 2018. Her sixth book, The O in the Air, is forthcoming in 2024. New poems are forthcoming in Image and Beloit Poetry Journal

Christine de Pizan (1364—c. 1430) was the first woman in France, and possibly in Europe, known to have supported herself and her family by means of her writing. She took up the pen after the death of her husband and produced several collections of poems, although she is best known now for her prose works on the role of women, such as The City of Ladies. She was the initiator of the feminist side of two important literary discussions: the exchange known as the “debate (querelle) on the Romance of the Rose” and the four-hundred-year-long “debate on women (querelle des femmes).” She can be considered the West’s first protofeminist and the first woman humanist, in the Renaissance sense of that term.

Ballade I from Les Cent Ballades

from the Middle French of Christine de Pizan, translated by Maryann Corbett

Some ask me: Write a pretty verse or two

and send it. I’ve a gift for poetry,

or so they say. Begging their pardon, though,

I scarcely have the skill they claim for me

in pleasant lyrics or in probity.

Still, their good hearts have asked. At their behest,

I’ll try, no matter how unlearnedly,

to do the work they graciously request.

My feelings are not free to render true

lines fashioned out of pleasure or of joy.

My sadness passes what all others know,

wrenching my heart out of its well-worn way.

But from the great grief that has silenced me

I can speak words enough, abundant, blessed.

Therefore I have consented willingly

to do the work they graciously request.

And to whatever reader seeks to know

how sorrow blanched my happiness away:

Death did this, when it struck an unwarned blow

at him in whom all goodness lived for me.

Death seized and set me on despair’s highway.

I dare not hope for wholeness in my breast.

Out of that sorrow comes my poetry,

which is the work men graciously request.

Prince, I have not lived long with poetry.

Take it with grace if I should fail the test.

But others ask. For their sake, I agree

to do the work they graciously request.

Original:

Aucunes gens me prient que je face
Aucuns beaulz diz, et que je leur envoye,
Et de dittier dient que j’ay la grace;
Mais, sauve soit leur paix, je ne sçaroye
Faire beaulz diz ne bons; mès toutevoye,
Puis que prié m’en ont de leur bonté,
Peine y mettray, combien qu’ignorant soie,
Pour acomplir leur bonne voulenté.

Mais je n’ay pas sentement ne espace
De faire diz de soulas ne de joye ;
Car ma douleur, qui toutes autres passe,
Mon sentement joyeux du tout desvoye;

Mais du grant dueil qui me tient morne et coye
Puis bien parler assez et a plenté;
Si en diray : voulentiers plus feroye
Pour acomplir leur bonne voulenté.

Et qui vouldra savoir pour quoy efface
Dueil tout mon bien, de legier le diroye
Ce fist la mort qui fery sanz menace
Cellui de qui trestout mon bien avoye;
Laquelle mort m’a mis et met en voye
De desespoir; ne puis je n’oz santé;
De ce feray mes dis, puis qu’on m’en proie,
Pour accomplir leur bonne voulenté.

Princes, prenez en gré se je failloie ;
Car le ditter je n’ay mie henté,
Mais maint m’en ont prié, et je l’ottroye,
Pour accomplir leur bonne voulenté.

Ballade IX from Les Cent Ballades

from the Middle French of Christine de Pizan, translated by Maryann Corbett

Hard Death, you who have dispossessed me, you

who seize my earthly comforts, you who break

my cherished habits, who oppress me so

that my own home becomes the claim you stake—

What further damages can you exact?

I live too long because of this reprieve.

I want one thing, through all my spirit’s ache:

to have through you deliverance from my grief.

I have spent five whole years lamenting now—

often, often, with tears that scored my cheek.

Five years have run now, since the hour when woe

robbed me of joy and left me slavery’s mark.

That beautiful, good, wise one—when you took him,

you sentenced me: torment without relief,

so that my anger makes me sigh and shake

and long for your deliverance from my grief.

If at that moment I had been taken too,

it would have been a far more gentle act,

for since that hour I have been laid so low

by pain, received so many a scourge’s stroke—

and every day the torturer comes back—

that I want nothing. I want no more of life.

It’s forfeit to you, payment I will make

to buy a last deliverance from my grief.

Prince, in your pity hear the plea I make

to Death: Indict me in your fatal sheaf

of pages. Let me know the judgment quickly:

Say I will have deliverance from my grief.

Original:

O dure Mort, tu m’as desheritée,
Et tout osté mon doulz mondain usage ;
Tant m’as grevée et si au bas boutée,
Que mais prisier puis pou ton seignorage.
Plus ne me pues en riens porter domage,
Fors tant sanz plus de moy laissier trop vivre.
Car je desir de trestout mon corage
Que mes griefs maulx soyent par toy delivre.

Il a cinq ans que je t’ay regraittée
Souventes fois, a trés pleureux visage,
Depuis le jour que me fu joye ostée,
Et que je cheus de franchise en servage
Quant tu m’ostas le bel et bon et sage,
Laquelle mort a tel tourment me livre
Que moult souvent souhait, pleine de rage,
Que mes griefs maulx soyent par toy delivre.

Se trés adonc tu m’eusses emportée,
Trop m’eusses fait certes grant avantage,
Car depuis lors j’ay esté si hurtée
De grans anuis, et tant reçu d’oultrage,
Et tous les jours reçoy au feur l’emplage,
Que riens ne vueil, ne n’ay desir de suivre,
Fors seulement toy paier tel truage
Que mes griefs maulx soyent par toy delivre.

Princes, oyés en pitié mon language,
Et toy Mort, pri, escry moy en ton livre,
Et fay que tost je voye tel message,
Que mes griefs maulx soyent par toy delivre.

Upon the Problem of the Envoi in the Contemporary Ballade

            “The envoi of a ballade is typically addressed to a prince.”
                        —LitCharts web page, “Ballade”

Though slant and half will often squeak you by,
it’s tricky to persuade the thing to rhyme.
With three bare possibilities, you fry
your brains and end up scrambled half the time.
And then you face the silly pantomime
of long tradition: Who on earth will do?
The way the newsreels roll them all in slime,
what prince out there’s worth dedicating to?

The little European kings? Just try
admiring rigid stick figures who mime
in medalled chests and pricey pageantry
what’s lost now to equality’s long climb.
The Saudis, credibly accused of crime
too horrible for thought, a lurid brew
of evils? The idea’s too icky. I’m
perplexed: Whom could one dedicate this to?

Maybe a different sort of royalty
would solve this (yes, we’re turning on a dime).
Some country king of braid and gold lamé
like Elvis, fat and sequinned, past his prime?
Some prelate seated on the cherubim?
Some Koch or Musk or Bezos? Sacré bleu.
Some laureled poet with a Guggenheim?
Where is a prince to dedicate this to?

Forget it, sovereigns all-too-unsublime—
anointed, crowned, and human through and through.
I think I’m done with working overtime
to find a prince to dedicate this to.

Posted on by John Bingham

My Offer, and five readings

JOHN BINGHAM has been writing poetry for nearly 20 years, from his first limerick, ‘Barry the Snail’, to his first competition win with ‘I miss you’. John believes poetry is an amazing tool to help with expressing feeling or aiding with mental health issues and hopes his poems can one day help others.

My Offer

I offered you the world and more and to the moon and back,

and would gladly give my life for you to keep our love on track.

There’s an infinity of areas I may not prove my worth,

But I offer you my happiness whilst we remain on earth.

I offer you the breath I take the place my feet may stand,

I offer you my soul as well, my heart, my head, my hand.

I offer you the life I’ve lived and the life I’ve yet to take,

I offer every choice to you that I may ever make.

I ask with humble hope that the hand I gives enough,

And ask that you stick by me when the choices all seem tough,

I ask for understanding when I’m wrong in what I say,

I’m very far from perfect but I’m trying every day.

I can never give you everything and will never promise to,

but everything I am or own, I offer it to you.

I ask you please to keep it safe my soul and heart’s on show,

and in return I promise you I’ll never let yours go.

JOHN BINGHAM reads five of his poems:
My Offer, by John Bingham
I Miss You, by John Bingham
The Cobbler, by John Bingham
A Bard, by John Bingham

Closing Down, by John Bingham

Posted on by Alexander Adams · 1 Comment

Kafka revealed

Kafka, self portrait. Photo by Ardon Bar-Hama. Wikimedia Commons

The Diaries

Franz Kafka, Ross Benjamin (trans.), Schocken/Penguin, 2023, hb., 670pp + xxiv, US$45
ALEXANDER ADAMS welcomes an overdue and sensitive English-language edition of Kafka’s journals

There could hardly be a better paradigm of existential modern man, locked within his psyche, struggling to making meaning of a brutal and mechanical world, than Franz Kafka (1883-1924). The most interior form of writing is the private diary. Thus, Kafka’s Diaries should be the epitome of angst – and indeed they are – and of self-conscious fashioning of literary forms – and that is also true. But they stubbornly explain little about what drove the writer.

In 1909 Kafka – doctor of law, employee of an insurance company, lifelong resident of Prague and aspirant writer – opened a quarto notebook and began writing a series of short entries before describing watching a Russian dancer who had recently performed in Prague. This was the beginning of a diary that he kept on and off until his death in 1924 from tuberculosis. The diaries would be his laboratory for writing. Aside from describing his day, notable events in his life and thoughts that had occurred to him, he would draft letters, test out poems, summarise plays he had seen and write fiction. He would also make some fetching faux-naïf drawings patterned on those in the German literary-satirical journal Simplicissimus (1896-1967).

This hybrid character proved an impediment to his editor and friend Max Brod, who took it upon himself to alter the diary text for the first edition, published in 1951. He tidied up the style into plain Hochdeutsch, removing Bohemian Germanicisms, and correcting slips. He cut all of the fiction published elsewhere in the novels and stories, which substantially shortened the text. He also sought to protect his friend’s reputation by removing critical remarks (including about Brod) and any mention of sex, pornography, and visits to brothels. This had the effect of making Kafka seem more unworldly and abstemious than he really was.

The new version translated by Ross Benjamin, based on the Fischer Verlag Critical Edition of Kafka’s complete works, removes these interventions. Reading this edition is not like reading a new book, it is reading a new book. The text has been radically altered, the character changed, and many new aspects have emerged, all of which make it feel fresh. Benjamin has been unable to render into English Bohemian German deviations from standard Hochdeutsch, wisely not trying, but the inclusion of slips in spelling (“Newyork”, “Newyort”) and capitalisation gives the text a much more fluid, impromptu character. We see a tired writer making mistakes and changing his mind as he wrote the only draft of this text. Included in this translation are the notations from the Fischer complete text, adding a great deal by way of context and identification.

Kafka (left) photographed at an amusement park ride

We encounter a handful of notable figures Kafka met personally – an audience with polymath eccentric Rudolf Steiner, a letter from novelist Robert Musil, a description of Alfred Kubin’s pornography collection. But Kafka’s diaries are not a glittering rollcall of intellectuals. Kafka lived in Prague rather than Vienna, after all. The few writers he knew well (Franz Werfel, Willy Haas, Brod) have all been eclipsed by Kafka himself.

The diaries dwell on Kafka’s fraught responses to his body. His vegetarianism and constipation were related to his fastidiousness. These were also a reaction against the gruff uncouthness of his portly father; it was a torment for Kafka to spend time with his family, especially his father. It must have been equally trying for his family in return. (For much of his adult life, Kafka lived with his parents.) The pathology of Kafka’s food obsession appears in the entry of 30 October 1911:

This longing I almost always have, once I feel my stomach is healthy, to heap up in myself fantasies of taking terrible risks with food. I satisfy this longing especially in front of smokehouses. If I see a sausage labeled as a an old hard Hauswurst, I bite into it in my imagination with all my teeth and swallow quickly, regularly and heedlessly like a machine. The despair that this act even in the imagination has as an immediate result increases my haste. I shove the long rinds of rib meat unbitten into my mouth and then pull them out again from behind tearing through my stomach and intestines. I eat dirty grocery stores completely empty. Fill myself with herrings, pickles and all the bad old sharp foods. Candies are poured into me like hail from their tin pots. In this way I enjoy not only my healthy condition, but also a suffering that is without pain and can pass immediately.[i]

On 13 August 1912, Kafka accompanied Brod on a social call, where he met a young woman. “Bony empty face, which wore its emptiness openly. Bare neck. Thrown-on blouse. […] Almost broken nose. Blond, somewhat stiff charmless hair, strong chin.”[ii] Not a flattering description of Felice Bauer, who would become his fiancée. Indeed, it turned out to be (how could it not?) a tortured relationship, which resulted to two breaking-offs of the engagement, and ultimate estrangement. Relatively little of Kafka’s doubts made it into the diary, at least, not directly. He did write a list of pros and cons of marriage, conceived in the abstract and somewhat detached from the specifics of Felice.

1) Inability to endure life alone […] 3) I must be alone a great deal. What I have achieved is only a result of being alone. 4) I hate everything that doesn’t relate to literature, it bores me to carry on conversations (even if they relate to literature) it bores me to pay visits, sorrows and joys of my relatives bore me to my soul. 5) The fear of connection, of flowing across. 7) Alone I could perhaps one day really give up my job. Married it will never be possible.[iii]

If she had seen the list, it would have filled her with foreboding. This mood would not have been leavened by another observation. “Coitus as punishment of the happiness of being together. To live as ascetically as possible, more ascetically than a bachelor, that’s the only way for me to endure marriage.”[iv]

To be fair, in his letters to Felice, Kafka did repeatedly write of his doubts about his suitability as a husband. It was not as if they were unprepared for Kafka’s fastidious selfishness – which did encompass concern regarding Felice’s marital happiness – to ultimately doom their plans. When a diagnosis of tuberculosis finally intervened (in 1915), it simply proved correct Kafka’s comment “I lack any propensity for family life except that of the observer at best.”[v] Fate had intervened to confirm the correctness of his path of literary solitude. In his last year, Kafka did wish to marry the teacher Dora Diamant, whom he would live with in Berlin, but let us overlook that untidy fact. The diaries end a month before Dora’s arrival in his life; or rather the notebooks mentioning her were later confiscated by the Gestapo and have never reappeared.  

The inclusion of drafts of Kafka’s fiction transforms the nature of the diaries. No longer a ‘pure’ journal, it comes the laboratory and workbook for a writer always looking to turn observation into fiction. There are versions of stories “The Judgment”, “Memories of the Kalda Railway”, “Wedding Preparations in the Country” and short pieces from his first book of short pieces Betrachtung (Meditation) (1913), as well as sections of his three novels The Man Who Disappeared (1911-4), The Trial (1914-5) and The Castle (1922). There is an aborted opening to The Trial, in which Josef K. is accused of theft, which he has committed unconsciously. “’Thief!’ he shouted and sprang out of the office. ‘I haven’t stolen anything’ was the first thing I said, but the five-gulden bill was in my hand and the till was open.”[vi] (Tellingly, Kafka thought of Karl Rossmann (protagonist of The Man Who Disappeared) as innocent, and Josef K. (of The Trial) as guilty.[vii]) There are attempts at story beginnings that never developed and patient rewritings of texts that never took on independent life. Some paragraphs were reworked although they never seem to amount to more than asides, without potential for publication. This is Kafka testing the veracity of his thoughts, clarifying his expression, practising his craft.

Letters loom large in Kafka’s thoughts. He frets over letters unsent and ones he cannot reply to. He drafts letters to Felice and his publisher. Letters to Milena and Felice are at first lifelines, then they constrict him, binding him into relationships and promises that impede him, that force him to compromise his work and deplete his time. Another drain on his attention – his work duties – does not come up much, other than as passing observations on colleagues. As the Office Writings revealed, his work life was actually very varied and meaningful; it took him across Bohemia as he attended conferences and inspected factories. Far from being a lowly clerk, as we sometimes casually imagine him to be, Dr Kafka was a serious and respected professional. We lose out from not hearing more about this part of his day, although one can hardly blame him for wishing to escape into literature when free.

Metamorfosis, 2013. Wikimedia Commons

As so often observed, acting as places of emotional expression without the speaker encountering moderation, reproof or reason, diaries frequently become repositories for anger and private score-settling. They can be ugly places, where we see a person at their most selfish and unbalanced. One can hardly blame an editor, especially one such as Brod, who knew the author, for taking off the edges. The diaries lack continuity, with breaks of many months, and suffer as a narrative from having figures mentioned only fleetingly. We do not get a feeling for recurring characters. As expected, Kafka explains little, as he was writing for himself.

We might ponder on the ethics of publishing not only anything by Kafka, bearing in mind his instructions to Brod to destroy all his writings, but particularly this journal. Ultimately, if an author is great enough and demand great enough, then everything will be published and gathered into complete editions. Kafka is no exception. He read such editions; he read the letters and journals of the Russian novelists, German Romantics and Gustave Flaubert. He would have understood the impulse to publish everything available and knew that everything he had not personally destroyed was liable to reach the public to some extent. He himself had committed to flames unsuccessful work. (March 1912: “Today burned many old disgusting papers.”[viii])

Do not think that the Diaries are tough reading. Although there is plenty of despair – at his writer’s block, his family, his inability to escape the office – Kafka’s humour flashes through most poignantly when he makes fun of himself.

When the Doktor, reading the contract aloud, came to a passage that dealt with my possible future wife and possible children I noticed opposite me a table with two large chairs and a smaller one around it. At the thought that I would never be capable of filling these or any 3 chairs with me, my wife and my child, I was overcome by a longing for this happiness so desperate from the very start that in this agitated state I asked the Doktor my only remaining question during the long reading, which immediately exposed my complete misunderstanding of an extensive section of the contract that had just been read.[ix]

As tuberculosis made inroads into Kafka’s stamina and expectations, the entries do grow tersely short. Sometimes they are little more than the name of a person or book or the recording of the temperature of a fever bout. What the diaries (dwelling as they do on inactivity, dissatisfaction and anxiety) fail to convey is how much Kafka did achieve despite the demands on his time: three unfinished novels, a body of brilliant short stories, some parables and a large quantity of letters, aside from the diaries themselves. This does not include lost or destroyed papers nor the technical reports written for work, which cannot be counted as creative work, despite its value and quality.

The Diaries are an essential addition to the Kafka canon in English, but we still await two major additions: The Fragments (a group of unfinished stories, parables and dialogues) and the collected correspondence. Both contain many texts that have never appeared in English. Those Anglophones who love Kafka cannot rest easy until these two bodies of work are added to the already translated critical editions of the novels, stories, parables and (now) diaries.

[i] P. 107

[ii] P. 226

[iii] P. 298

[iv] P. 301

[v] P. 304

[vi] P. 351

[vii] P. 400

[viii] P. 209

[ix] P. 121

Posted on by Colin James

Top View of a House

COLIN JAMES has a couple of chapbooks of poetry published – Dreams Of The Really Annoying, from Writing Knights Press and A Thoroughness Not Deprived of Absurdity, from Piski’s Porch Press – and a book of poems, Resisting Probability, from Sagging Meniscus Press

Top View of a House

The new subdivision,

“A Bomber’s Paradise”,

grew out of lush privations.

The walk from here to there

had changed unbeknownst

until Mrs Parker at condo 99

beckoned me for a natter.

Her porch was internalized

so we gabbed on fake grass

bordered by sincere

painted white stones.

She could not have smoked

her corncob pot pipe

this side of a mouth,

without more contradiction.

Posted on by Stuart Millson · 1 Comment

Passport to rebirth

STUART MILLSON says a Scottish National Party idea suggests a way to preserve the Union

The resignation of the SNP First Minister of Scotland, Nicola Sturgeon – welcomed by relieved unionists, lamented by Scottish secessionists (some in tears during interviews on television news) – has brought the relationship between the countries of the United Kingdom again into the centre of political debate. 

Following the recent Supreme Court ruling that Holyrood did not have the right to initiate a second referendum on independence, an SNP conference scheduled for March has been cancelled. Nicola Sturgeon, standard-bearer of the paradoxical cause of an independent nation within the EU, who just six months ago proclaimed that “we are the independence generation”, has now effectively signalled the end of that euphoric period for Scottish nationalism.

Today, Scottish secessionists are pondering, not the arrangements for a forthcoming re-run of the 2014 vote (a result they have spent the greater part of the last nine years denying) but the question of who can possibly fill the vacancy created by Nicola Sturgeon’s departure. This is quite a change from the SNP’s triumphalism and optimism of 2022, when Holyrood’s civil servants were producing public briefing papers on ‘life outside the UK’ – even exhibiting artwork for a new Scottish passport, with accompanying plans for Scottish embassies to open around the world. However, in their zeal to create a distinctive Scottish identity, maybe the SNP has inadvertently stumbled upon the very ideas that could re-equip the Union with the tools and ideals necessary for its rebirth.

Would not a redesigned UK passport, bearing stirring emblems of the heraldry and history of all the Kingdom’s constituent nations, help assuage regional tensions? Couldn’t portraits of, say, Robert the Bruce or Rabbie Burns, not reassure understandably proud Scots that their country had not disappeared in 1707? Likewise, the establishment of Scottish embassies may not be too fanciful an idea: Montreal’s flag flies from grand offices in London’s Pall Mall, just a short stroll from Canada House – recognition that a French nation exists alongside the English-speaking land of the Maple Leaf.

West of the River Severn, no calls have yet been made for specifically Welsh embassies, but the issuing of UK-Welsh banknotes – say, Owain Glyndwr charging across a mountainous scene on £20 denominations – could help three million people in this corner of the realm to see that their nation’s life did not end with the incursions of mediaeval English armies. Welshmen and women can take justifiable pride in their part in shaping the United Kingdom: the Tudor dynasty originating in Cambria, David Lloyd George leading us to victory in the First World War, and the summit of the world, Mount Everest, bearing the name of a man born in Powys.

In Northern Ireland, too, couldn’t a new provincial flag – the shamrock, harp and the Crown, perhaps, maybe even images of moderate Home Rulers and patriot idealists of the past (for example, John Redmond, or W B Yeats) – help to heal rifts and, more importantly, encourage Irish nationalists to see that they can have an honoured place in the UK? 

Celts can, at least, take pleasure in the fact that so much effort is being directed to their well-being: the descendants of the Anglo-Saxons, it should be remembered, are the one group who, in this kaleidoscope of devolution, do not have their own assembly. The English are very forbearing about this democratic deficit; a further willingness to allow our fellow-Britons with whom we have such inextricably linked histories to celebrate their ancient achievements and national heroes alongside ours would be a characteristically generous gesture. It could also be a long-sighted one – and a catalyst for a troubled Kingdom’s rebirth.