Tag Archives: historiography

Steedman’s Landscape for a Good Woman (part 1)

This book, this Landscape for a Good Woman by Carolyn Steedman…I loved it with a love reserved for few other books really. For its lyricism and beauty, the sharp insights about mothers and daughters, about how we are classed and gendered, about how we just might break free of this yet never break free…the pain of all of it. The complexities of all of it, and the complexities of our own inner lives too often flattened by words like working-class, woman, mother. I loved this book for an ability to share a world with her briefly and watch her theorise so beautifully from there, there, this complex, working class landscape. This place usually only the object of theory, the ‘problem’ for theory.

She manages it so beautifully, you long to try but feel pretty certain this is a high wire act not to be emulated lightly or without years of training. She opens so:

Death of a Good Woman

She died like this. I didn’t witness it. My niece told me this. She’d moved everything down into the kitchen: a single bed, the television, the calor-gas heater. She said it was to save fuel. The rest of the house was dark and shrouded. Through the window was only the fence and the kitchen wall of the house next door. Her quilt was sewn into a piece of pink flannelette. Afterwards, there were bags and bags of washing to do. … She lived alone, she died alone: a working-class life, a working-class death. (1-2)

This conflicted moment of loss is the beginning. Not the lovely quote from John Berger which follows, describing how we carry our biographies with us.

The present tense of the verb to be refers only to the present: but nevertheless with the first person singular in front of it, it absorbs the past which is inseparable from it. ‘I am’ includes all that has made me so. It is more than a statement of immediate fact: it is already biographical.
(John Berger, About Looking)

She writes of the borderlands (not the margins):

This book is about lives lived out on the borderlands, lives for which the central interpretative devices of the culture don’t quite work. It has a childhood at its centre – my childhood, a personal past- and it is about the disruption of that fifties childhood by the one my mother had lived out before me, and the stories she told about it. Now, the narrative of both these childhoods can be elaborated by the marginal and secret stories that other working-class girls and women from a recent historical past have to tell.

This book, then, is about interpretations, about the places where we rework what has already happened to give current events meaning. It is about the stories we make for ourselves, and the social specificity of our understanding of those stories. The childhood dreams recounted in this book, the fantasies, the particular and remembered events of a South London fifties childhood do not, by themselves, constitute its point. We all return to memories and dreams like this, again and again; the story we tell of our own life is reshaped around them. But the point doesn’t lie there, back in the past, back in the lost time at which they happened; the only point lies in interpretation.

And this point, which somehow I have never heard before

The past is re-used through the agency of social information, and that interpretation of it can only be made with what people know of a social world and their place within it. It matters then, whether one reshapes past time, re-uses the ordinary exigencies and crises of all childhoods whilst looking down from the curtainless windows of a terraced house like my mother did, or sees at that moment the long view stretching away from the big house in some richer and more detailed landscape. (5)

Where are you now when you remember and tell your stories? How does this change how you make sense of them? Of the world?

My mother’s longing shaped my own childhood. From a Lancashire mill town and a working-class twenties childhood she came away wanting: fine clothes, glamour, money; to be what she wasn’t. However that longing was produced in her distant childhood, what she actually wanted were real things, real entities, things she materially lacked, things that a culture and a social system withheld from her. The story she told was about this wanting, and it remained a resolutely social story. When the world didn’t deliver the goods, she held the world to blame. In this way, the story she told was a form of political analysis, that allows a political interpretation to be made of her life.

Personal interpretations of past time – the stories that people tell themselves in order to explain how they got to the place they currently inhabit – are often in deep and ambiguous conflict with the official interpretative devices of a culture. This book is organized around a conflict like this… (6)

I have been thinking about this so much. Her mother’s story not just in conflict with the materiality of her life and the promises of the society she lived in, but with the understandings of what it has meant to be working class, to be a woman, to be a mother that have been constructed over time.

She goes on to describe a number of working-class biographies — so many! I have a list of them somewhere, we share the desire to read ALL OF THEM. But my desire is clearly more diluted, I have made little headway. She finds a sameness in them, she writes

When the sons of the working class, who have made their earlier escape from this landscape of psychological simplicity, put so much effort into accepting and celebrating it, into delineating a background of uniformity and passivity, in which pain, loss, love, anxiety and desire are washed over with a patina of stolid emotional sameness, then something important, and odd, and possibly promising of startling revelation, is actually going on. This refusal of a complicated psychology to those living in conditions of material distress is a central theme of this book… (12)

She relates these to her own experience at the University of Sussex in 1965, and how that itself would have been framed by her reading of these earlier works.

…should I have met a woman like me (there must have been some: we were all children of the Robbins generation), we could not have talked of escape except within a literary framework that we had learned from the working-class novels of the early sixties (some of which, like Room at the Top, were set books on certain courses); and that framework was itself ignorant of the material stepping-stones of our escape: clothes, shoes, make-up. We could not be heroines of the conventional narratives of escape. Women are, in the sense that Hoggart and Seabrook present in their pictures of transition, without class, because the cut and fall of a skirt and good leather shoes can take you across the river and to the other side: the fairy-tales tell you that goose-girls may marry kings. (15-16)

These markers of class have shifted such that I recognise them, but it all feels more complicated now. Still, it seems that we cannot know where we are until we know where we were, first seeing it in all of its plurality.

The first task is to particularize this profoundly a-historical landscape (and so this book details a mother who was a working woman and a single parent, and a father who wasn’t a patriarch). And once the landscape is detailed and historicized in this way, the urgent need becomes to find a way of theorizing the result of such difference and particularity, not in order to find a description that can be universally applied (the point is not to say that all working-class childhoods are the same, nor that experience of them produces unique psychic structures) but so that the people in exile, the inhabitants of the long streets, may start to use the autobiographical ‘I’, and tell the stories of their life. (16)

But then, of course, you must manage the results of this storytelling. She talks about how middle class women hear her stories and say it was like that for them too

What they cannot bear, I think, is that there exists a poverty an marginality of experience to which they have no access, structures of feeling that they have not lived within (and would not want to live within: for these are the structures of deprivation). They are caught then in a terrible exclusion, and exclusion from the experience of others that measures out their own central relationship to the culture. The myths tell their story…  (17)

This is so telling, so…familiar. So awful about the ‘we’ I hear thrown around so often, ‘we’ women, ‘we’ academics that does not acknowledge these differences. Like this one she gives as an aside — understanding patriarchy without actually having experienced it the way working-class hagiographies so often demand:

A father like mine dictated each day’s existence; our lives would have been quite different had he not been there. But he didn’t matter, and his singular unimportance needs explaining. His not mattering has an effect like this: I don’t quite believe in male power; somehow the iron of patriarchy didn’t enter into my soul. I accept the idea of male power intellectually, of course…(19)

So here we are working out how to bring together history:

…the processes of working-class autobiography, of people’s history and of the working-class novel cannot show a proper and valid culture existing in its own right, underneath the official forms, waiting for revelation. Accounts of working-class life are told by tension and ambiguity, out on the borderlands. The story-my mother’s story, a hundred thousand others – cannot be absorbed into the central one: it is both its disruption and its essential counterpoint: this is a drama of class. But visions change, once any story is told; ways of seeing are altered. The point of a story is to present itself momentarily as complete, so that it can be said: it does for now, it will do; it is an account that will last a while. Its point is briefly to make an audience connive in the telling, so that they might say: yes, that’s how it was; or, that’s how it could have been. (22)

In thinking history and class she weaves a tapestry of life of course. My time in Manchester already marks much of it as familiar, my soul that seeks to know everything about a place delighted so much in thick descriptions of Burnley, of lives lived there and its day to days so distant from anything I can ever experience now. This is part of what she does here.

What historically conscious readers may do with this book
is read it as a Lancashire story, see here evidence of a political culture of 1890-1930 carried from the Northwest, to shape another childhood in another place and time. They will perhaps read it as part of an existing history, seeing here a culture shaped by working women, and their consciousness of themselves as workers. They may see the indefatigable capacity for work that has been described in many other places, the terrifying ability to get by, to cope, against all odds. Some historically conscious readers may even find here the irony that this specific social and cultural experience imparted to its women: ‘No one gives you anything,’ said my mother, as if reading the part of ‘our mam’ handed to her by the tradition of working-class autobiography. ‘If you want things, you have to go out and work for them.’ But out of that tradition I can make the dislocation that the irony actually permits, and say: ‘If no one will write my story, then I shall have to go out and write it myself.’

The point of being a Lancashire weaver’s daughter, as my mother was, is that it is classy: what my mother knew was that if you were going to be working class, then you might as well be the best that’s going, and for women, Lancashire and weaving provided that elegance, that edge of difference and distinction. I’m sure that she told the titled women whose hands she did when she became a manicurist in the 1960s where it was she came from, proud, defiant: look at me. (Beatrix Campbell has made what I think is a similar point about the classiness of being a miner, for working-class men.)32 (22-23)

I love that Lancashire weavers were the ‘best that’s going’ for women, that mining may be similar for men. But how is it that women can see that, know it, claim it.

This book is intended to specify, in historical terms, some of the processes by which we come to step into the landscape, and see ourselves. (24)

More about all of that at some point.

Steedman, Carolyn (1986) Landscape for a Good Woman: A Story of Two Lives. London: Virago.

Trouillot’s Silencing the Past

357199I also want to reject both the naive proposition that we are prisoners of our pasts and the pernicious suggestion that history is whatever we make of it. History is the fruit of power, but power itself is never so transparent that its analysis becomes superfluous. The ultimate mark of power may be its invisibility; the ultimate challenge, the exposition of its roots (xix).

I love this book. It is short, poetic, and has been transformative of how I think about history and my own work investigating the past and bringing it to bear on the present. As if that weren’t enough, it helps recapture the brilliance of the Haitian revolution while exposing how and why it has been silenced. That’s not all it does, but I think what it does best.

There is is some really interesting things about language in here, how history and historiography are shaped not just in how we tell the past, but in the very words that we use.

Human beings participate in history both as actors and as narrators. The inherent ambivalence of the word “history” in many modern languages, including English, suggests this dual participation. (2)

There’s a reminder of how language structures the ways in which we think:

The pernicious belief that epistemic validity matters only to
Western-educated populations, either because others lack the
proper sense of time or the proper sense of evidence, is belied by
the use of evidentials in a number of non-European Ianguages.
An English approximation would be a rule forcing historians to distinguish grammatically between “I heard that it happened,” “I saw it happen,” or “I have obtained evidence that it happened” every time they use the verb “to happen.” (7-8)

I also love the expansion of what history means, who makes it and tells it and who impacts on the ways it is understood, the critique of academic historians who tend to limit it.

Such debates suggest that historical relevance does not proceed directly from the original impact of an event, or its mode of inscription, or even the continuity of that inscription.
Debates about the Alamo, the Holocaust, or the significance
of U.S. slavery involve not only professional historians but ethnic and religious leaders, political appointees, journalists, and various associations within civil society as well as independent citizens, not all of whom are activists. This variety of narrators is one of many indications that theories of history have a rather limited view of the field of historical production. (19)

It also tries to shift how we view the ways in which history is made and by whom:

History, as social process, involves peoples in three distinct capacities: 1) as agents, or occupants of structural positions; 2) as actors in constant interface with a context; and 3) as subjects, that is, as voices aware of their vocality.

peoples are also the subjects of history the way workers are
subjects of a strike: they define the very terms under which some situations can be described. (23)

This in turn shifts how we write about it, what we focus on:

Thus between the mechanically “realist” and naively “constructivist” extremes, there is the more serious task of determining not what history is–a hopeless goal if phrased in essentialist terms–but how history works. (25)

Building on this reconceptualising of who makes history and how, is the ways in which so much history is lost, erased, silenced — and how we reclaim them.

Silences enter the process of historical production at four crucial moments: the moment of fact creation (the making of sources); the moment of fact assembly (the making of archives); the moment of fact retrieval (the making of narratives); and the moment of retrospective significance (the making of history in the final instance). (26)

To put it differently, any historical narrative is a particular bundle of silences, the result of a unique process, and the operation required to deconstruct these silences will vary accordingly. (27)

Thus the presences and absences embodied in sources (artifacts and bodies that turn an event into fact) or archives (facts collected, thematized, and processed as documents and monuments) are neither neutral or natural. They are created. As such they are not mere presences and absences, but mentions or silences of various kinds and degrees. By silence, I mean an active and transitive process: one “silences” a fact or an individual as a silencer silences a gun. One engages in the practice of silencing. Mentions and silences are thus active, dialectical counterparts of which history is the synthesis. (48)

One of my favourite sentences? ‘…one “silences” a fact or an individual as a silencer silences a gun.’

Deconstruct these silences we must, because above all this is about fighting the power that oppresses and silences, and building out own.

Power does not enter the story once and for all, but at different times and from different angles. It precedes the narrative proper, contributes to its creation and to its interpretation. Thus, it remains pertinent even if we can imagine a totally scientific history, even if we relegate the historians’ preferences and stakes to a separate, post-descriptive phase. In history, power begins at the source.

We can be hopeful, we can find traces of what has been silenced. Not everything is lost, and we can (and must) look to material remains.

What happened leaves traces, some of which are quite concrete–buildings, dead bodies, censuses, monuments, diaries, political boundaries–that limit the range and significance of any historical narrative. This is one of many reasons why not any fiction can pass for history: the materiality of the sociohistorical process (historicity 1) sets the stage for future historical narratives (historicity 2). (29)

But we must do this well, uncovering the working of power and the larger significance of our work:

The turn toward hitherto neglected sources (e.g., diaries. images, bodies) and the emphasis on unused facts (e.g ., facts of
gender, race, and class, facts of the life cycle, facts of resistance)
are pathbreaking developments. My point is that when these tactical gains are made to dictate strategy they lead, at worst, to a neo-empiricist enterprise and, at best, to an unnecessary restriction of the battleground for historical power. (49)

Silences Within Silences
The unearthing of silences, and the historian’s subsequent emphasis on the retrospective significance of hitherto neglected events, requires not only extra labor at the archives–whether or not one uses primary sources–but also a project linked to an interpretation. This is so because the combined silences accrued through the first three steps of the process of historical production intermesh and solidify at the fourth and final moment when retrospective significance itself is produced. (58-59)

And then there is ‘The Haitian Revolution as a non-event’, an immense and inspiring uprising that shifted global balances of power, yet is treated as peripheral where mentioned at all. There is a powerful discussion of why and how that should be, which explores how limits are created on people’s perceptions and their ability to understand events, and how these limits worked in European thinking.

The Haitian Revolution thus entered history with the peculiar characteristic of being unthinkable even as it happened. (73)

Thus the Enlightenment exacerbated the fundamental ambiguity that dominated the encounter between ontological discourse and colonial practice. If the philosophers did reformulate some of the answers inherited from the Renaissance, the question “What is Man?” kept stumbling against the practices of domination and or merchant accumulation. The gap between abstraction and practice grew or, better said, the handling or the contradictions between the two became much more sophisticated, in part because philosophy provided as many answers as colonial practice itself. (78)

Slavery and its foundations are, of course, one of the principal limits, all too obvious in Enlightenment discourse (yet never raised as such):

The Enlightenment, nevertheless, brought a change of perspective. The idea of progress, now confirmed, suggested that men were perfectible. Therefore, subhumans could be, theoretically at least, perfectible. More important, the slave trade was running its course, and the economics of slavery would be questioned increasingly as the century neared its end. Perfectibility became an argument in the practical debate: the westernized other looked increasingly more profitable to the West, especially if he could become a free laborer. A French memoir of 1790 summarized the issue: “It is perhaps not impossible to civilize the Negro, to bring him to principles and make a man out of him: there would be more to gain than to buy and sell him.” (80)

Above all, it is a discourse tied to the practicalities of maintaining domination and Empire:

Behind the radicalism of Diderot and Raynal stood, ultimately,
a project of colonial management. It did indeed include the abolition of slavery, but only in the long term, and as part of a process that aimed at the better control of the colonies. Access to human status did not lead ipso facto to self-determination. In short, here again, as in Condorcet, as in Mirabeau, as in Jefferson, when all is said and done, there are degrees of humanity. The vocabulary of the times reveals that gradation. When one talked of the biological product of black and of white intercourse, one spoke of “man of color” as if the two terms do not necessarily go together: unmarked humanity is white. (81)

This is not to make the demand that people of the past should understand the moralities of the present, but rather what it was about the past that made these moralities almost impossible to imagine:

I am not suggesting that eighteenth-century men and women should have thought about the fundamental equality of humankind in the same way some of us do today. On the contrary, I am arguing that they could not have done so. But I am also drawing a lesson from the understanding of this historical impossibility. The Haitian Revolution did challenge the ontological and political assumptions of the most radical writers of the Enlightenment. The events that shook up Saint Domingue from 1791 to 1804 constituted a sequence for which not even the extreme political left in France or in in England had a conceptual frame of reference. They were “unthinkable” facts in the framework of Western thought. (82)

Below are some fragments of how ideology sat uneasily, often contradictory within white understandings, how innocence of Black humanity was preserved ideologically in the pursuit of domination and profit:

Thus, next to a discourse that claimed the contentment of slaves, a plethora of laws, advice, and measures, both legal and illegal, were set up to curb the very resistance denied in theory.

Rather, each case of unmistakable defiance, each possible instance of resistance was treated separately and drained of its political content (83).

Built into any system of domination is the tendency to proclaim its own normalcy. (84)

When the news of the massive uprising of August 1791 first hit
France, the most common reaction among interested parties was disbelief: the facts were too unlikely; the news had to be false. (90)

Worldview wins over the facts: white hegemony is natural and taken for granted; any alternative is still in the domain of the unthinkable.  (93)

The international recognition of Haitian independence was even more difficult to gain than military victory over the forces of Napoleon. It took more time and more resources. more than a half century of diplomatic struggles. France imposed a heavy indemnity on the Haitian state in order to formally acknowledge its own defeat. The United States and the Vatican, notably, recognized Haitian independence only in the second half of the nineteenth century.  (95)

This is important not just to understand how domination worked, but also revolt:

Not only was the Revolution unthinkable and, therefore, unannounced in the West. it was also–to a large extent–unspoken among the slaves themselves. By this I mean that the Revolution was not preceded or even accompanied by an explicit intellectual discourse.

In that sense, the revolution was indeed at the limits of the thinkable, even in Saint-Domingue, even among the slaves, even
among its own leaders. We need to recall that the key tenets of the political philosophy that became explicit in Saint-Domingue/Haiti between 1791 and 1804 were not accepted by world public opinion until after World War II.(88)

By necessity, the Haitian Revolution thought itself out politically and philosophically as it was taking place. Its project, increasingly radicalized throughout thirteen years of combat, was revealed in successive spurts. Between and within its unforeseen stages, discourse always lagged behind practice. (89)

Thus in looking specifically at how the facts and the meaning of the Haitian Revolution have been (mis)understood, Trouillot uncovers two specific processes that he terms ‘Erasure and Trivialization: Silences in World History’:

I have fleshed out two major points so far. First, the chain of events that constitute the Haitian Revolution was unthinkable before these events happened. Second, as they happened, the successive events within that chain were systematically recast by many participants and observers to fit a world of possibilities. That is, they were made to enter into narratives that made sense to a majority of Western observers and readers. I will now show how the revolution that was thought impossible by its contemporaries has also been silenced by historians. (96)

The treatment of the Haitian Revolution in written history outside of Haiti reveals two families of tropes that are identical. in formal (rhetorical) terms, to figures of discourse of the late eighteenth century. The first kind of tropes are formulas that tend to erase directly the fact of a revolution. I call them, for short, formulas of erasure. The second kind tends to empty a number of singular events of their revolutionary content so that the entire string of facts, gnawed from all sides, becomes trivialized. I call the formulas of banalization…Both are formulas of silence. (96)

Thus domination continues on into the present, these interpretations having everything to do not just with the ways in which silences continue, but in the limits this imposes on how we understand the problems facing the present and how we imagine working towards a new future.

Finally, the silencing of the Haitian Revolution also fit the relegation to an historical backburner of the three themes to which it was linked: racism, slavery, and colonialism. In spite of their importance in the formation of what we now call the West, in spite of sudden outbursts of interest as in the United States in the early 1970s, none of these themes has ever become a central concern of the historiographic tradition in a Western country. (98)

That Hobsbawm and the editors of the Dictionary would probably locate themselves quite differently within England’s political spectrum is one indication that historical silences do not simply reproduce the overt political positions of the historians involved. What we are observing here is archival power at its strongest, the power to define what is and what is not a serious object of research and, therefore, of mention. (99)

Effective silencing does not require a conspiracy, not even a political consensus. Its roots are structural. (106)

The silencing of the Haitian Revolution is only a chapter within
a narrative of global domination. It is part of the history of the
West and it is likely to persist, even in attenuated form, as long as the history of the West is not retold in ways that bring forward the perspective of the world. (107)

This happens in theory and the terms that we use:

Terminologies demarcate a field, politically and epistemologically. Names set up a field of power.” “Discovery” and analogous terms ensure that by just mentioning the event one enters a predetermined lexical field of cliches and predictable categories that foreclose a redefinition  of the political and intellectual stakes. Europe becomes the center of “what happened.” (115)

It highlights what we must remember in our own work if we are not to reproduce this:

historical authenticity resides not in the fidelity to an alleged past but in an honesty vis-a-vis the present as it re-presents that past. (148)

Authenticity implies a relation with what is known that duplicates the two sides of historicity: it engages us both as actors and narrators. (150)

This is so long and pieces together a sense of his writing about process, while hardly touching the substance of the various histories he reclaims from the silence — as important a project as what I have focused on here. So read it.

For more on race, empire and history…

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Beyond A Boundary

imagesC.L.R. James ([1963] 1996) Serpent’s Tail, London

I enjoyed this immensely. I know just enough about cricket that it made some kind of sporting sense — though I confess that there’s was an entire chapter on Bradman and the body-line where I really had no idea what the hell James was talking about. Mostly though, James’s enthusiasm carried me along the crest of a lyrical use of words in unfamiliar contexts and meanings, descriptions of overs and strokes and other barely understood marks of poetry and genius. Growing up with three brothers made this a familiar sensation, and I let the minimally understood words carry me along to more familiar territory. Historiography, politics, colonialism and its legacies, ethics, the relationships between a people and their popular heroes, the relationships between popular heroes and the spirit of the time and place.

These things are beautifully explored, and impossible to sum up. Strange growing up in Arizona playing soccer I was inculcated with many of the same values of fair play, and it’s not a bad code to live by. Certainly conflicted, as James says, by where that code comes from and how it has been wielded.

This is partly why I appreciated his statement of the importance of remembering the past and understanding it in the present for both  colonised and the colonisers. It is not about catharsis, but about understanding how we have arrived where we are so that we can shape where we are going. The demand to forget the past so often comes from those who benefit, even if unconsciously, from such forgetfulness.

There are the people who, having enjoyed the profits and privileges of racialism for most of a lifetime, now that racialism is under fire and in retreat, profess a lofty scorn for it and are terribly pained when so much as refer to it in any shape or form. Their means have changed, not their ends, which are the same as they always were, to exploit racialism for their own comfort and convenience. They are a dying race and they will not be missed…

There is a less obvious fraternity. They not only understand, but sympathize. When you delve into your own history they see in it a search for catharsis! You are getting the poison out of your system.

Here he quotes T.S. Eliot: ‘This is the use of memory…liberation, From the future as well as the past.’

That is exactly what I do not think about memories. They do not liberate me in any sense except that once you have written down something your mind is ready to go further. I do not want to be liberated from them. I would consider liberation from them a grievous loss, irreparable. I am not recording tragedy. I do not wish to be liberated from that past and, above all, I do not wish to be liberated from its future. … I speculated and planned and schemed for the future; among other plans, how to lay racialism flat and keep stamping on it whenever it raises its head, and at the same time not to lose a sense of proportion — not at all easy. (59)

And this is a book about both the coloniser and the colonised, a look at what cricket has meant in England and how that has been exported to the West Indies to take on its own life and meaning. The connections between the two as they continue to meet. The playing out of emancipation through the politics of sport. A use of sport as a prism to understand national movements and hopes and anxieties. It feels more nuanced than a traditional economic base and ideological superstructure analysis, though it contains some of these elements. On the Victorian middle class, as it appropriated cricket to ‘convert it into a national institution’, James writes:

It was accumulating wealth…More than most newcomers it was raw. Unlike the French bourgeoisie of the eighteenth century, it had no need to create a new political and philosophical system to prepare itself for power. Its chief subjective quality was a moral unctuousness. This it wore like armour to justify its exploitation of common labour, and to protect itself from the loose and erratic lives of the aristocracy it was preparing to supplant… (161)

Seeing sport as culture:

The world-wide renaissance of organized games and sports as an integral part of modern civilization was on its way. Of this renaissance, the elevation of cricket and football to the place they soon held in English life was a part; historically speaking, the most important part…The only word I know for this is culture. The proof of its validity is its success, first of all at home and then almost as rapidly abroad, in the most diverse places and among peoples living lives which were poles removed from that whence it originally came. This signifies, as so often in any deeply national movement, that it contained elements of universality that went beyond the bounds of the originating nation. It is the only contribution of the English educational system of the nineteenth century to the general ideas of Western civilization (166).

It is, however, a universality this particular form of which came into being through certain economic changes. James describes that following the Factory Act of 1847, ‘there had come into existence an enormous urban public, proletarian and clerical lower middle class. They had won for themselves one great victory, freedom on Saturday afternoon. They were ‘waiting to be amused’ (170).

W.G. Grace became my hero (though later conversation with people who know about these things tore him down again, forcing me to make a separation between personal life and public — one that I am never ever comfortable with). I learned a new word as well:

Prolegomena is a tough word, but my purpose being what it is, it is the only one I can honestly use. It means the social, political, literary and other antecedents of some outstanding figure in the arts and sciences. Grasp the fact that a whole nation had prepared the way for him and you begin to see his stature as a national embodiment (170).

I think there is something important here about how we study history, how we understand people and movements:

But the passions and the forces which are embodied in great popular heroes — and W.G. was one of the greatest of popular heroes–these passions and forces do not yield their secrets to the antiquated instruments which the historians still cling to. Wilton St. Hill and Learie Constantine were more than makers of runs and takers of wickets to the people of Trinidad and Tobago. Who will write a biography of Sir Donald Bradman must be able to write a history of Australia in the same period. I have indicated what I think W.G. signified in the lives of the English people, not in what politicians did for them or poets wrote of them or what Carlyle and Ruskin preached to them, but in the lives that they themselves lived from day to day. We shall know more what men want and what they live by when we begin from what they do. They worshipped W.G. That is the fact. And I believe we have never given this fact the attention it deserves. Some day we shall. Of that I have no doubt. For the time being it is enough to say once more: he brought and made a secure place for pre-industrial England in the iron and steel of the Victorian Age (182).

All of this should shape how we work to change our future. Constantine, St Hill, Worrell become heroes as well. The struggle for Worrell as a Black captain clearly a most important one, though clearly a struggle that many on the more dogmatic left believed a waste of time.

I also quite loved the chapter on cricket as high art, the beautiful lines of the play and players themselves, the aesthetics. I chuckled at some of the homoerotic nature of classic descriptions of player form, style and beauty. But I would be the last to deny that this beauty is there.

I think the true skill and beauty of cricket is impossible to fully grasp for anyone who hasn’t followed it for a long time, and better yet played and played well. But its meaning, its greater cultural meaning is something we should work to understand.

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