Workshop of Pot*ntial Blogging – Avoiding using “E”

It is sad to think on how long ago MUW last had a post, but it is 2014 now, and activity will start again. Writing sank down a priority list in 2013, but is now kicking off with inspiration from a Franco-artistic group of authors, known as Oulipo. For this post, I will avoid all utilisation of that most common of all symbols in our vocabulary, “E” (apart from just now!). In illustrations using a book, film or author’s call-sign, a * will stand in for that infuriating symbol.

A graphic of the word lipogram surrounded by the letters E
A lipogram is a block of writing avoiding a particular symbol

From its foundation on 24 Nov 1960, Oulipo was a group that brought works of writing to our world with strict canons Continue reading “Workshop of Pot*ntial Blogging – Avoiding using “E””

Why I Write – Celebrating MUW’s 50th post

“[W]riting is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very idea of the body writing.” – Barthes, Image Music Text, p 142

Last year I took the time to read Why I Write by George Orwell. This book is a gem in the Orwell bibliography, mainly due to its often brutal honesty and informal tone. It reads like a diary, or like a blog. Orwell’s conclusion (in my own far too shallow words) was that he wrote to help people think differently about politics and society. Orwell’s goal was for people to understand how competition and greed make us worse as a species, and wanted people to see how working together is working toward a more utopic common goal.

Blogging is a relatively new phenomenon, developed in the 1980s by and for computer programmers and users Continue reading “Why I Write – Celebrating MUW’s 50th post”

Future Shock! – How popular culture views the future

[youtube http://www.youtube.com/watch?v=b8J38ElzbAM]

The future is coming, or so they say. And as it approaches us head-on, we can do little to avoid collision with its impending certainty. I for one am looking forward to the invention of hoverboards in 2015, but am still nervous every time I turn on my computer of the day when robots rule the earth.

There are various artistic visions of how the future will pan out. In films and books we have been shown everything from sleek space-age technological dreams to dark, zombie-infested post-apocalyptic worlds, from grim cyberpunk metropolises Continue reading “Future Shock! – How popular culture views the future”

Cormac McCarthy – Crossing the Border (1992-2012)

After deciding on the next topic for Moon Under water, i.e. the wonderful literary style of American author Cormac McCarthy, I decided to do a little research on the ambiguous public character of and found a piece online on The New Yorker’s webpage by writer James Wood. It’s an interesting criticism and a great introductory piece for any who are unfamiliar with the author. The subtitle for the article is “The sanguinary sublime of Cormac McCarthy”. I thought this far to apt a subtitle to pass up on quoting, as in assonance, double-meaning and literary style this is the perfect starting point for a critical reading of McCarthy’s later works. All I can say is damn him for thinking of it first…

McCarthy began his writing career with The Orchard Keeper in 1965. Since then he has published nine full novels, a screenplay and two plays. In the last twenty years McCarthy’s writing has taken a paradigm shift from an earlier, more typically American prose to the more recent offerings of this millennium. Continue reading “Cormac McCarthy – Crossing the Border (1992-2012)”

“I Want to Get Out!” – Supermarkets as Non-Places

While browsing a shopping aisle in a Tesco supermarket some time back I witnessed a young child sat in the constrictive rear-facing child seat of a shopping trolley. I would have passed little notice of this regular occurrence had the child not been in some consternation as to its current predicament. The young fair-haired boy wailed repeatedly at the top of his voice, to the pained facial expression demonstrating his busy mother’s exacerbated patience “I want to get out!”

It may have been the fact that I was on the way to the Electric Picnic music festival with my girlfriend, full of anticipation for impending youthful whimsy and unsolicited feelings of freedom from the rat-race for a weekend at least, but the repetition of the phrase, and in particular the context of uttering “I want to get out!” repeatedly in the anti-labyrinthine supermarket geography made me turn and muse whimsically to my better half, “Is that not the perfect social statement?” Continue reading ““I Want to Get Out!” – Supermarkets as Non-Places”

Moon Under Water

An array of opinions and ideas from people who just like things!

George Orwell – Moon Under Water

My favourite public-house, the Moon Under Water, is only two minutes from a bus stop, but it is on a side-street, and drunks and rowdies never seem to find their way there, even on Saturday nights.

Its clientele, though fairly large, consists mostly of “regulars” who occupy the same chair every evening and go there for conversation as much as for the beer.

If you are asked why you favour a particular public-house, it would seem natural to put the beer first, but the thing that most appeals to me about the Moon Under Water is what people call its “atmosphere.”

To begin with, its whole architecture and fittings are uncompromisingly Victorian. It has no glass-topped tables or other modern miseries, and, on the other hand, no sham roof-beams, ingle-nooks or plastic panels masquerading as oak. The grained woodwork, the ornamental mirrors behind the bar, the cast-iron fireplaces, the florid ceiling stained dark yellow by tobacco-smoke, the stuffed bull’s head over the mantelpiece —everything has the solid, comfortable ugliness of the nineteenth century.

In winter there is generally a good fire burning in at least two of the bars, and the Victorian lay-out of the place gives one plenty of elbow-room. There are a public bar, a saloon bar, a ladies’ bar, a bottle-and-jug for those who are too bashful to buy their supper beer publicly, and, upstairs, a dining-room.

Games are only played in the public, so that in the other bars you can walk about without constantly ducking to avoid flying darts.

In the Moon Under Water it is always quiet enough to talk. The house possesses neither a radio nor a piano, and even on Christmas Eve and such occasions the singing that happens is of a decorous kind.

The barmaids know most of their customers by name, and take a personal interest in everyone. They are all middle-aged women —two of them have their hair dyed in quite surprising shades—and they call everyone “dear,” irrespective of age or sex. (“Dear,” not “Ducky”: pubs where the barmaid calls you “ducky” always have a disagreeable raffish atmosphere.)

Unlike most pubs, the Moon Under Water sells tobacco as well as cigarettes, and it also sells aspirins and stamps, and is obliging about letting you use the telephone.

You cannot get dinner at the Moon Under Water, but there is always the snack counter where you can get liver-sausage sandwiches, mussels (a speciality of the house), cheese, pickles and those large biscuits with caraway seeds in them which only seem to exist in public-houses.

Upstairs, six days a week, you can get a good, solid lunch —for example, a cut off the joint, two vegetables and boiled jam roll—for about three shillings.

The special pleasure of this lunch is that you can have draught stout with it. I doubt whether as many as 10 per cent of London pubs serve draught stout, but the Moon Under Water is one of them. It is a soft, creamy sort of stout, and it goes better in a pewter pot.

They are particular about their drinking vessels at the Moon Under Water, and never, for example, make the mistake of serving a pint of beer in a handleless glass. Apart from glass and pewter mugs, they have some of those pleasant strawberry-pink china ones which are now seldom seen in London. China mugs went out about 30 years ago, because most people like their drink to be transparent, but in my opinion beer tastes better out of china.

The great surprise of the Moon Under Water is its garden. You go through a narrow passage leading out of the saloon, and find yourself in a fairly large garden with plane trees, under which there are little green tables with iron chairs round them. Up at one end of the garden there are swings and a chute for the children.

On summer evenings there are family parties, and you sit under the plane trees having beer or draught cider to the tune of delighted squeals from children going down the chute. The prams with the younger children are parked near the gate.

Many as are the virtues of the Moon Under Water, I think that the garden is its best feature, because it allows whole families to go there instead of Mum having to stay at home and mind the baby while Dad goes out alone.

And though, strictly speaking, they are only allowed in the garden, the children tend to seep into the pub and even to fetch drinks for their parents. This, I believe, is against the law, but it is a law that deserves to be broken, for it is the puritanical nonsense of excluding children —and therefore, to some extent, women—from pubs that has turned these places into mere boozing-shops instead of the family gathering-places that they ought to be.

The Moon Under Water is my ideal of what a pub should be —at any rate, in the London area. (The qualities one expects of a country pub are slightly different.)

But now is the time to reveal something which the discerning and disillusioned reader will probably have guessed already. There is no such place as the Moon Under Water.

That is to say, there may well be a pub of that name, but I don’t know of it, nor do I know any pub with just that combination of qualities.

I know pubs where the beer is good but you can’t get meals, others where you can get meals but which are noisy and crowded, and others which are quiet but where the beer is generally sour. As for gardens, offhand I can only think of three London pubs that possess them.

But, to be fair, I do know of a few pubs that almost come up to the Moon Under Water. I have mentioned above ten qualities that the perfect pub should have and I know one pub that has eight of them. Even there, however, there is no draught stout, and no china mugs.

And if anyone knows of a pub that has draught stout, open fires, cheap meals, a garden, motherly barmaids and no radio, I should be glad to hear of it, even though its name were something as prosaic as the Red Lion or the Railway Arms.

This was a letter written by George Orwell to the Evening Standard on 25 February, 1946. My compliments to georgeorwellnovels.com for the piece.