Archived entries for English

India Knight’s My Life on a Plate read by Jill Tanner

More than a little over the top, Clara Hutt is dropping her 2 boys off this morning wearing her pajama bottoms (again) and wondering (again) why all the other mothers can arrive at school with perfectly starched blouses and expertly applied makiage. Not now, Darling, I’m Paaaarking,” and again, “I AM PAAARKING,” and again “Stop it, Charlie, don’t make me want to break your legs.”

There are so many things wrong with this picture that the fact that Clara doesn’t speak to her children like the mummies in books is, well, funny. Indeed, Charlie is six and already has a “vast panoply of hideous, faintly disturbing, terms of abuse.” “You tiresome retard” he says to his brother. Or to some hapless toddler on a play date: “God! You exasperating creature! What is it? Talk for God’s sake!! God. God. Bloody God!” She is, of course, to blame she thinks, while she watches Naomi The Perfect Mother and Crossing Guard doing her pelvic floor exercises. Hup two three four and hoooooolddd.

I think Clara is darling. In perfectly bad faith for the nought generation, Clara has all the elements of a mad Greek family member. But she is English, and thanks to Jill Tanner’s drawn out vowels and enthusiastic syntax, we are happy to relocate our tragic flaws.

Clara’s mother is, on the other hand, global.

Martha Grimes read by Tim Curry: The Old Silent

Short cuts to well told endings of British crime novels don’t usually work. They leave out the localized, linguistic pulp of English thought. And it is thought not plot that makes a novel so very relentlessly English.

Tim Curry’s reading resonates with localized, idiomatic, parochial, inherited sense, regionality, territoriality.

Listen up. Tim Curry turns this abridgement into an exception.

Tinker Tailor Soldier Spy by John Le Carre read by FRANK MULLER. An Original.

How did Muller know that the text could sound like this? How could he make words talk like this? And yet he does. Muller turns them up and over and around so that each one cries out: Me, look! Listen to me! Hear me. And having been read in such a way, by such a voice, a word, a text, remains unspeakable by any other voice.
One listens half-crouched, head tilted, just a little, toward the machine, the voice, because it is inconceivable or almost inconceivable that this is English. For how can one even open one’s mouth when there is someone who makes English like this, makes English sound like this….

A Certain Justice by P.D. James read by Simon Prebble

It is rare to hear the barely conscious memories of a powerful woman reconnoitring the dimensions of a frustrated girlhood. The wooden, joyless father, the servile, fearful, nervous mother, the rules, the order, the manners, the placements, the positions, the positionings of the dinner table, extended to the smallest sensations of everyday life. The monstrous, unending oppression.

Is it an English oppression? Perhaps. There is the painful, unhappy education of a displaced intelligence, a displaced sex, a displaced class; the oblivion of a female among the ritual insensibilities of English law, the infinite isolation of a woman, divorced, middle-aged, groomed.

And there are the small contradictions of a rational woman, uncertain in the face of her irrationality, her daughter.



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