In a world that is innately tragic, how does one remain cheerfully vital? There seems no end to the forces that wish to crush one’s joie de vivre. Whether it’s the deadening omnipotence of the modern technocratic mode of organisation, the overbearing coddling of our moralistic culture, or just the old-fashioned primordial fate of the great tragedians and philosophers, we cannot escape an assault of forces intent of making us submit to despair.
The world often feels like a great slimy toad, sitting on our chests and allowing its toxic ooze to envelope our nostrils and lungs until we choke. How many people give in to it I wonder? Millions? How many human beings surrender their souls to the devilish incubus that haunts them? This is the primary question of human existence and one that has become pertinent to the present moment in art. In a high culture full of worthless slush that threatens to drown us all in its mediocrity and potent purposelessness, the moment of choice is thrust upon us all as individuals: either we swim to sweet terra firma or fall beneath the murky surface.
Yet, as old King Canute once showed us, the tide is never-ending. In a deeper, spiritual sense the assault of despair will never end. We die and suffer. Our loved ones die and suffer. Religions are exhausted and nations fall to ruins. Given this, do we still have the strength to embrace life?
This is an excerpt from “Blast!”. To continue reading, visit The Mallard’s Shopify.
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Audubon’s Legacy of Birds and Tomfoolery
For someone who has anger issues, entering the Audubon’s The Birds of America exhibition was like entering a whole new world. Upon the entry, I saw giant screens showing details from Audubon’s work and I could hear quiet bird noises in the background. It was an incredibly calming experience, as much as one can consider stuffed birds and plates depicting birds massacring another bird calming. Naturally, this wasn’t the centre of the exhibition – it truly celebrated the skill and the creativity of the bird illustrator with a passion for nature.
The exhibition is running in the National Scottish Museum in Edinburgh from the 12th of February to the 8th of May of this year. It displays over 40 plates, each measuring almost one metre in height. Most of them have never actually been shown to the public before. It is split into 4 sections, each of them with its own theme – the first one, ‘Meet the Birds of America’ introduces the ‘world’s most expensive book’ and Audubon, in general.
John James Audubon was a 19th-century ornithologist and naturalist. He made a point of studying and cataloguing the birds he encountered in their natural habitats. A son of a sugarcane plantation owner and a chambermaid, he must have had a conflicted childhood. Audubon moved to the US to avoid participation in the Napoleonic Wars – and focused on birds instead.
The second section of the exhibition titled ‘An Art and a Science’ examines the influence of other illustrators on Audubon as well as the scientific, or sometimes quasi-scientific context. With the Industrial Revolution clashing with the Romantic movement, the transcendental search for nature was at its peak. The illustrations at the time were generally quite dull due to drawing from taxidermy and lifeless study skins.
Audubon, however, made a point of painting directly from wildlife, by personally hunting the birds and sometimes getting others to hunt for him. He would then paint the birds he gathered by pinning them into lifelike poses observed in the wild. This resulted in his art being vivid and life-like. He didn’t want to paint the taxidermied birds as he felt this would take away their lively spark from them. He was known for sometimes romanticising the birds he saw in the wild, for example when painting the Mocking Bird, in which a rattlesnake attacks birds in a bush, where it would be impossible for a rattlesnake to do so. Audubon would also sometimes add more human behaviours to the birds to allow the audience to relate to the birds. He was sometimes accused of not exactly presenting the truth.
The third part of the exhibition called ‘Audubon in Edinburgh’ explores the role of Scottish intelligentsia in ensuring that Audubon was embraced by the art society, after his rejection by the scientific community in Philadelphia. He befriended William Home Lizars and started engraving. Edinburgh was central to Audubon’s beginnings as a bird illustrator, making it extremely relatable to the Scottish audience, and it became somewhat a privilege to live in the same city where Audubon once found inspiration and was embraced by the art world.
The fourth section called ‘The Great Work: The Making of a Masterpiece’ deals with technical and artistic achievements. There are short films available for those whose attention span is longer than mine. However, this section also shows the bound edition of Birds of America which is extremely large (100 x 130 cm when open). Audubon insisted that the illustrations would show the birds life-size. Only two paper mills in the UK were capable of printing these, as he used a double elephant folio which is 96 x 66 cm. For those who are capable to rotate shapes in their head, this number will probably mean a lot.
The fifth section ‘Naturalist or Showman’ focuses on his contribution to discovering new species. Audubon identified 25 new species. This part of the exhibition explores some of the ‘controversies’, for example, Audubon was known for his strong belief in phrenology, the science which is now deemed ‘pseudoscience’ by some. Phrenology suggests that one can find details about someone’s personality from their skull shape. Seeing what kind of person he was, he probably used phrenology to mock his rivals. He was often accused of plagiarism and scientific fraud due to misidentifying some species and fabricating scientific data. Sometimes he invented new species to impress people who might then buy his work. Reportedly, he even stole the specimen of Harris’s hawk from his subscriber to then pretend he never knew him. He also lied in his own autobiography.
The sixth and final section of the exhibition ‘Birds of the World’ considers the impact of the modern era on the preservation and extinction of many birds. Some, such as the Carolina parakeet is entirely extinct – they used to always flock in large groups which made it easier for the hunters to kill them. They’ve also been considered a pest by farmers, which contributed to their demise. The exhibition ends on a thoughtful note, advising us to consider the repercussions of human behaviour on the natural world.
This prompted many conversations, such as the possibility to clone the extinct animals using their DNA tissue, however, so far, this was only tried with Pyrenean Ibex in 2003, but this one died not long after from lung defects. It might be a way forward in the future though.
The exhibition was a visual feast for the eyes and the birds are engraved and painted beautifully. The sheer skill of Audubon’s art is undeniable, and it trumps any accusations he received. He may not have been rigidly adhering to the scientific advice, but he created something that’s still worth looking at. Audubon inspired George Bird Grinnell to create the National Audubon Society in 1905 (although the idea goes back as far as 1895 when the first Audubon Society was created). The organisation protects the birds and their habitats in the Americas. If you like birds, you can donate here.
Audubon’s exhibition included a wealth of important items, including some study skins of birds and many taxidermized birds as well as his diaries, plates, and his hunting double-barrelled rifle. The exhibition is beautiful, thoughtful and certainly fascinating. For anyone who craves the return to transcendentalism and ancient values – it’s a feast for their eyes. If you fancy a trip to Edinburgh before the end of the exhibition on the 8th of May – make a point of stopping by at the National Scottish Museum to look at some birds, I strongly recommend it.
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Mania by Lionel Shriver (Book Review)
Lionel Shriver’s latest novel, Mania, imagines a world in which the concept of intelligence has become taboo. ‘Dumb’, ‘stupid’, ‘moronic’ and every other synonym that might adequately describe the mentally deficient have become unspeakable terms of offence, while IQ tests and entrance exams alike are outlawed on the grounds of elitism. Idiots are not a protected class, however, because the prevailing ideology posits that idiots simply don’t exist. In this egalitarian utopia, everyone is equally smart. To suggest anything to the contrary is to commit a hate crime punishable by professional ruin and social ostracism.
If this all sounds familiar, it’s because Mania is a pointed parody of the socio-political logic of what Shriver, in a recent piece for UnHerd, described as the ‘collective crazes’ of the last decade: transgenderism, #MeToo, Covid lockdowns and Black Lives Matter. Her journalism has tackled each of these movements individually and collectively, but Mania is her first work of fiction to deal with the twin forces of political correctness and cancel culture head on. It’s perhaps worth pointing out that her recent novel, The Motion of the Body Through Space, featured as part of its subplot a diversity hire whose incompetence leads to the breakdown of the transport system in Hudson, New York – which landed Shriver in hot water during a promotional tour of the book. But critics will struggle to condemn Mania as offensive. For while the novel is implicitly critical of radical progressive politics, the Mental Parity movement is a squarely fictional creation. Even in the fragile political climate of 2024, the foolish remain fair game as an object of ridicule.
Mania’s characters are recognisable archetypes of any cowed and paranoid society. Plucky, witty and dangerously opinionated, Pearson Converse is one of Shriver’s most autobiographical protagonists, mirroring everything from the author’s overbearingly religious upbringing to the rebellious mentality it imprinted on her. Her defiance in the face of the Mental Parity movement makes Pearson a black sheep in polite society, but stems from a desire to protect her two eldest children, a pair of prodigies who in any other age would have a bright future lined up for them. It is the third child, Lucy, who, having grown up in an age in which Mental Parity has become the mainstream, constitutes an unlikely antagonist, blackmailing her mother and policing her language and behaviour. It is telling that Lucy’s ideological and cognitive equivalents throughout Mania are the teachers, politicians and television presenters, and that perhaps the only other thing they have in common is an unmerited power over those who dare to speak out.
But the real conflict that rages like a dynamo from Mania’s first pages to its dramatic conclusion is more nuanced, more complicated than a simple black-and-white battle between critical thinking Davids and knuckle-dragging Goliaths. Despite Pearson’s career as a university professor, the book focuses less on the shadowy cabal of academics pulling the strings of Mental Parity than on those who are complicit with the regime, or merely undecided. It is complacency that drives a wedge between Pearson and her comparatively apolitical husband, Wade, whom she accuses of ‘sit[ting] this whole thing out on the sidelines, watching, or declining to watch.’ Far more sinister is the character of Emory, Pearson’s lifelong pal, whose position on the whole thing is not neutral but ambiguous. What makes Emory particularly villainous is not that she is a believer, but that she is a non-believer, prepared to manipulate the burgeoning climate of paranoia for her own gain, advancing her career as a talkshow host by producing disingenuous op-eds on microaggressions or thought crimes and thereby embodying, by Pearson’s account, ‘the intelligent face of stupid’.
As Emory rides the coattails of this movement, Pearson’s own career – not to mention her family life and reputation – begins to spiral. Her first brush-in with the tyrannical power of Mental Parity comes when she assigns her literature class a novel that the self-anointed censors have exorcised from the Western canon. The scene is reminiscent of the opening of last year’s American Fiction, in which Monk, a black professor, writes on the class blackboard the name of a Flannery O’Connor story, only for a blue-haired white girl to object that she finds the title – ‘The Artificial Nigger’ – offensive. Monk is laid off from his job as a consequence. Pearson doesn’t quite lose her job for assigning Dostoevsky’s The Idiot to her class, but the stunt earns her the resentment of colleagues and students both, as well as a stern warning. What leads to her eventual dismissal is her later deployment of the word ‘retard’ during a tirade in class. Typically, the scene is filmed by every student in the class and uploaded to the internet.
Pearson is not even safe within her own home, which she considers a sanctuary of normality – only for Lucy to report her to social services. As a result, Pearson is required to take a six-week Cerebral Acceptance and Semantic Sensitivity class, with the aim of weeding out elitist language from her vocabulary:
Considering that ‘grasp’ could convey mastery some people lacked, we should instead ‘grip’ or ‘seize’ our coffee mugs. ‘Command’ could also mean an unjustifiable sense of intellectual dominion, so in a position of authority we should issue an ‘edict’ or ‘direction’. Admiring classifications such as ‘savvy’, ‘scholarly,’ and ‘erudite’ couldn’t help but imply the existence of benighted characters who exhibited none of these qualities, so if we were hell-bent on acclaiming colleagues, we should keep to wholesome, simple – sorry, uncomplicated – compliments such as ‘I like you’ or ‘That is good.’
If the attempt to jettison every contaminated word in the English language seems overkill, recall the institutional scramble only a couple of years ago, in which colleges across America issued ‘harmful language’ lists to students, singling out problematic obscenities such as ‘field’, ‘blackboard’, ‘straight’, ‘American’ and – you guessed it – ‘stupid’. Shriver herself conducted a highly entertaining takedown of this phenomenon for the Spectator. One gets the sense that this sterile dumbing down of the English language is what irks her the most, since the straitjacket of minimally offensive newspeak could not be further from the vibrancy and elasticity of the author’s own style. The unfortunate fact for her enemies is that Shriver is one of the most capable writers around. Her insights are profound and her prose is lucid, every sentence an immaculately crafted marvel of colloquial lyricism.
There is a disconcerting familiarity to the events of Mania, which echo some of the more maddening episodes of the last few years. From Sherlock to Columbo, films and TV shows which are seen to promote the notion of ‘cleverness’ are taken off air and removed from circulation. And a campaign to rename the city of Voltaire gains traction, since the views espoused by the author of Candide are no longer in step with those of its residents.
In a conversational aside we learn that the rest of the world thinks the West has lost its marbles. It’s clear that Shriver has borrowed liberally from the events and controversies that have defined the zeitgeist, but Mental Parity is a creation all her own. Indeed, the titular mania is such a powerful force that it has the effect of sidelining all other social justice movements. Anders Breivik receives public sympathy after murdering 69 members of the Norwegian Workers’ Youth League for exhibiting ‘less than spectacular intelligence’. Not only is the concept of Islamophobia absent from political discourse, but Western society’s fascination with race itself has become blessedly passé – to President Obama’s detriment. ‘Nobody gives a crap anymore about his being a black president,’ Emory states, when the Mental Parity movement is still in its infancy. ‘He’s a know-it-all president. It’s death.’ His replacement is the ‘impressively unimpressive’ Joe Biden, acclaimed for his ‘delectably leaden’ speaking style. But when even the doddering ineptitude of a potentially demented president proves insufficient to satisfy voters, the Democrats find a new champion in the form of Donald Trump. Across the pond, meanwhile, the UK’s decision to leave the EU becomes a win for progressivism, given the tendency of many Remainers to demonise Brexiteers as stupid.
The good thing is that this imagined mania is so much worse – and therefore more entertaining – than any of the real manias currently afflicting the Western world. Thanks to the Mental Parity movement, food produced in the US is no longer safe to eat, nearly all fatalities in the armed forces are caused by friendly fire and a brain drain has left America stunted, handing China and Russia the keys to world domination.
But while Mania is funny, razor-sharp and extremely readable, it’s also eerily realistic. For the seeds of Mental Parity may already have been sewn, and not just in the soil surrounding the R word. Universities are increasingly eschewing standardised examinations, while columnists wage war against the very idea of meritocracy. What’s more, in a further affront to the English language, last month it was announced that a new version of Scrabble was being released with simplified rules, in order to make the game ‘more accessible for anyone who finds word games intimidating’. If Lionel Shriver’s alternative history becomes the actual future, this fine novel will be the first for the chopping block. Read it while you still can.
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Joel Coen’s The Tragedy of Macbeth: An Examination and Review
A new film adaptation of Shakespeare’s Scottish tragedy, Joel Coen’s 2021 The Tragedy of Macbeth is the director’s first production without his brother Ethan’s involvement. Released in select theaters on December 25, 2021, and then on Apple TV on January 14, 2022, the production has received positive critical reviews as well as awards for screen adaptation and cinematography, with many others still pending.
As with any movie review, I encourage readers who plan to see the film to do so before reading my take. While spoilers probably aren’t an issue here, I would not want to unduly influence one’s experience of Coen’s take on the play. Overall, though much of the text is omitted, some scenes are rearranged, and some roles are reduced, and others expanded, I found the adaptation to be a generally faithful one that only improved with subsequent views. Of course, the substance of the play is in the performances of Denzel Washington and Frances McDormand, but their presentation of Macbeth and Lady Macbeth is enhanced by both the production and supporting performances.
Production: “where nothing, | But who knows nothing, is once seen to smile” —IV.3
The Tragedy of Macbeth’s best element is its focus on the psychology of the main characters, explored below. This focus succeeds in no small part due to its minimalist aesthetic. Filmed in black and white, the play utilizes light and shadow to downplay the external historical conflicts and emphasize the characters’ inner ones.
Though primarily shown by the performances, the psychological value conflicts of the characters are concretized by the adaptation’s intended aesthetic. In a 2020 Indiewire interview, composer and long-time-Coen collaborator Carter Burwell said that Joel Coen filmed The Tragedy of Macbeth on sound stages, rather than on location, to focus more on the abstract elements of the play. “It’s more like a psychological reality,” said Burwell. “That said, it doesn’t seem stage-like either. Joel has compared it to German Expressionist film. You’re in a psychological world, and it’s pretty clear right from the beginning the way he’s shot it.”
This is made clear from the first shots’ disorienting the sense of up and down through the use of clouds and fog, which continue as a key part of the staging throughout the adaptation. Furthermore, the bareness of Inverness Castle channels the focus to the key characters’ faces, while the use of odd camera angles, unreal shadows, and distorted distances reinforce how unnatural is the play’s central tragic action, if not to the downplayed world of Scotland, then certainly to the titular couple. Even when the scene leaves Inverness to show Ross and MacDuff discussing events near a ruined building at a crossroads (Act II.4), there is a sense that, besides the Old Man in the scene, Scotland is barren and empty.
The later shift to England, where Malcolm, MacDuff, and Ross plan to retake their homeland from now King Macbeth, further emphasizes this by being shot in an enclosed but bright and fertile wood. Although many of the historical elements of the scene are cut, including the contrast between Macbeth and Edward the Confessor and the mutual testing of mettle between Malcolm and MacDuff, the contrast in setting conveys the contrast between a country with a mad Macbeth at its head and the one that presumably would be under Malcolm. The effect was calming in a way I did not expect—an experience prepared by the consistency of the previous acts’ barren aesthetic.
Yet, even in the forested England, the narrow path wherein the scene takes place foreshadows the final scenes’ being shot in a narrow walkway between the parapets of Dunsinane, which gives the sense that, whether because of fate or choice rooted in character, the end of Macbeth’s tragic deed is inevitable. The explicit geographical distance between England and Scotland is obscured as the same wood becomes Birnam, and as, in the final scenes, the stone pillars of Dunsinane open into a background of forest. This, as well as the spectacular scene where the windows of the castle are blown inward by a storm of leaves, conveys the fact that Macbeth cannot remain isolated against the tragic justice brought by Malcom and MacDuff forever, and Washington’s performance, which I’ll explore presently, consistently shows that the usurper has known it all along.
This is a brilliant, if subtle, triumph of Coen’s adaptation: it presents Duncan’s murder and the subsequent fallout as a result less of deterministic fate and prophecy and more of Macbeth’s own actions and thoughts in response to it—which, themselves, become more determined (“predestined” because “wilfull”) as Macbeth further convinces himself that “Things bad begun make strong themselves by ill” (III.2).
Performances: “To find the mind’s construction in the face” —I.4
Film adaptations of Shakespeare can run the risk of focusing too closely on the actors’ faces, which can make keeping up with the language a chore even for experienced readers (I’m still scarred from the “How all occasions” speech from Branagh’s 1996 Hamlet); however, this is rarely, if ever, the case here, where the actors’ and actresses’ pacing and facial expressions combine with the cinematography to carry the audience along. Yet, before I give Washington and McDormand their well-deserved praise, I would like to explore the supporting roles.
In Coen’s adaptation, King Duncan is a king at war, and Brendan Gleeson plays the role well with subsequent dourness. Unfortunately, this aspect of the interpretation was, in my opinion, one of its weakest. While the film generally aligns with the Shakespearean idea that a country under a usurper is disordered, the before-and-after of Duncan’s murder—which Coen chooses to show onscreen—is not clearly delineated enough to signal it as the tragic conflict that it is. Furthermore, though many of his lines are adulatory to Macbeth and his wife, Gleeson gives them with so somber a tone that one is left emotionally uninvested in Duncan by the time he is murdered.
Though this is consistent with the production’s overall austerity, it does not lend much to the unnaturalness of the king’s death. One feels Macbeth ought not kill him simply because he is called king (a fully right reason, in itself) rather than because of any real affection between Macbeth and his wife for the man, himself. However, though I have my qualms, this may have been the right choice for a production focused on the psychological elements of the plot; by downplaying the emotional connection between the Macbeths and Duncan (albeit itself profoundly psychological), Coen focuses on the effects of murder as an abstraction.
The scene after the murder and subsequent framing of the guards—the drunken porter scene—was the one I most looked forward to in the adaptation, as it is in every performance of Macbeth I see. The scene is the most apparent comic relief in the play, and it is placed in the moment where comic relief is paradoxically least appropriate and most needed (the subject of a planned future article). When I realized, between the first (ever) “Knock, knock! Who’s there?” and the second, that the drunk porter was none other than comic actor Stephen Root (Office Space, King of the Hill, Dodgeball), I knew the part was safe.
I was not disappointed. The drunken obliviousness of Root’s porter, coming from Inverness’s basement to let in MacDuff and Lennox, pontificating along the way on souls lately gone to perdition (unaware that his king has done the same just that night) before elaborating to the new guests upon the merits and pitfalls of drink, is outstanding. With the adaptation’s other removal of arguably inessential parts and lines, I’m relieved Coen kept as much of the role as he did.
One role that Coen expanded in ways I did not expect was that of Ross, played by Alex Hassell. By subsuming other minor roles into the character, Coen makes Ross into the unexpected thread that ties much of the plot together. He is still primarily a messenger, but, as with the Weird Sisters whose crow-like costuming his resembles, he becomes an ambiguous figure by the expansion, embodying his line to Lady MacDuff that “cruel are the times, when we are traitors | And do not know ourselves” (IV.2). In Hassell’s excellent performance, Ross seems to know himself quite well; it is we, the audience, who do not know him, despite his expanded screentime. By the end, Ross was one of my favorite aspects of Coen’s adaptation.
The best part of The Tragedy of Macbeth is, of course, the joint performance by Washington and McDormand of Macbeth and Lady Macbeth. The beginning of the film finds the pair later in life, with presumably few mountains left to climb. Washington plays Macbeth as a man tired and introverted, which he communicates by often pausing before reacting to dialogue, as if doing so is an afterthought. By the time McDormand comes onscreen in the first of the film’s many corridor scenes mentioned above, her reading and responding to the letter sent by Macbeth has been primed well enough for us to understand her mixed ambition yet exasperation—as if the greatest obstacle is not the actual regicide but her husband’s hesitancy.
Throughout The Tragedy of Macbeth their respective introspection and ambition reverse, with Washington eventually playing the confirmed tyrant and McDormand the woman internalized by madness. If anyone needed a reminder of Washington and McDormand’s respective abilities as actor and actress, one need only watch them portray the range of emotion and psychological depth contained in Shakespeare’s most infamous couple.
Conclusion: “With wit enough for thee”—IV.2
One way to judge a Shakespeare production is whether someone with little previous knowledge of the play and a moderate grasp of Shakespeare’s language would understand and become invested in the characters and story; I hazard one could do so with Coen’s adaptation. It does take liberties with scene placement, and the historical and religious elements are generally removed or reduced. However, although much of the psychology that Shakespeare includes in the other characters is cut, the minimalist production serves to highlight Washington and McDormand’s respective performances. The psychology of the two main characters—the backbone of the tragedy that so directly explores the nature of how thought and choice interact—is portrayed clearly and dynamically, and it is this that makes Joel Coen’s The Tragedy of Macbeth an excellent and, in my opinion, ultimately true-to-the-text adaptation of Shakespeare’s Macbeth.
