What's in a name?

There's a place I go to for a takeaway coffee on a somewhat regular basis. They always ask my name, and then mispell it so it comes up on their screen (in my face) as “Francis.” I find this mildly irritating but as it's an indignity I've encountered since kindergarten, I usually rise above it. Today, however, I must have reached some kind of annoyance threshold so I said, when asked, “Frances with an E.” The barista seemed to smirk at my absurd preciousness, and typed it in with, I thought, the air of one humouring a spoilt child.  When I saw the name correctly spelled, the first sensation of triumph was dispelled by an awareness of how trivial this fond record was, how little it mattered.  My name printed there was like a name writ upon the strand, or in water. It had no bearing on my identity, or on the exchange of currency for coffee, and it made me look foolish.  The barista was right, I then thought, to sneer.

However, I think in the ubiquitous mispelling of my name there is a history that matters. People who don't know any better use the male form because it's more familiar. Various Francises have made their mark on our culture: Francis Bacon, Francis Drake, Francis the Talking Mule. But where are the famous Franceses? Possibly obscured by the once fashionable diminutive “Fanny,” but more than likely they were, like Shakespeare's sister or Michelangelo's niece, born to blush unseen: erased, silenced, or simply left alone by an unaccountable and persistent preference for male achievers.  Perhaps statistical evidence would not support my theory; perhaps far fewer girls than boys have borne the name. But I suspect the lids on my misnamed coffees conceal a sinister history of elision, inequity and injustice. Though writ in coffee, the mispelling is every time an affront not only to me, but to every Frances who has lived and died in the shadow of a Francis. I think I'll get my coffee somewhere else from now on. A place where the baristas don't sneer, and the coffee remains innominate.

Be thou a new star

For Kate Middleton:

Up then fair Phoenix bride, frustrate the Sun,
Thy self from thine affection
Takest warmth enough, and from thine eye
All lesser birds will take their jollity.
Up, up, fair bride, and call
Thy stars, from out their several boxes take
Thy rubies, pearls and diamonds forth, and make
Thy self a constellation of them all,
And by their blazing, signify,
That a Great Princess falls, but doth not die;
Be thou a new star, that to us portends
Ends of much wonder; and be thou those ends.
Since thou dost this day in new glory shine,
May all men date records from this thy Valentine.


(From John Donne, “Marriage Song on the Lady Elizabeth, and Count Palatine, being married on St Valentine's Day,” 1613)

Elementary

I’ve never really been into crime as a genre, but this year I’ve encountered and enjoyed quite a few criminal creations. The ABC’s Marple and Poirot series got me hooked (thanks iview!), and inspired me to read some Agatha Christie. I’ve also read two Peter Temple books: a far cry from Christie, but undoubtedly in the same tradition. All the contemporary crime shows and books have roots in crime’s progenitor, Arthur Conan Doyle, but stylistically and aesthetically, they’re very different. More on Peter Temple soon.

About Doyle, Chesterton, Christie, Sayers et al, there’s a decorum that now makes them seem sterile and contrived, and terribly innocent (not unlike the village of Midsomer). The detective always gets his man, and he always gets his cup of tea (or his opium pipe in Holmes’ case). The villains are frightfully easy to spot: if anyone has a limp, a pronounced Russian accent, and is called Boris, he’s almost bound to be your bloke - unless he's the good guy in a stupendous disguise. The clues are placed with precision for ease of retrieval in the unmasking scene, which invariably takes place in the drawing room, with everyone, conveniently including the murderer, present.

But even with all these now slightly daffy traits, there’s something satisfying about these plots, and in the richness of the worlds in which they unfold. There are also profound observations about human nature. It’s these which make the stories more than puzzles. And it’s these which I suspect constitute the enduring appeal of crime fiction. At their core is a hunt, bloody and athletic, for truth. There’s a primordial regard for justice, an elementary acknowledgment of sin that will not tolerate ambiguities. While crime is mired in the cultural ‘lowness’ of genre fiction, it yet provides a moral certainty that ‘high’ art often fails to provide, something on which the human spirit can feed. While the body count may be horrifically high, so too are the stakes – each death has its echo in the moral universe; each body counts.

Sunward

I was interested in the conjunction of Easter with Anzac Day this year. There were many possible sediments of significance to explore - sacrificial death, afterlife, remembrance, dawn. But I was wary, too, of an exploratory zeal that might distub significant sentiments. However, unwilling to let the occasion pass without some literary marker, I dug up this poem 'High Flight' by Canadian airman John Gillespie Magee, who, in 1941, aged 19, just a few months after composing the poem, crashed his Spitfire into a RAF plane over Lincolnshire. When the planes collided, Magee jumped out of his cockpit, but he was so close to the ground that his parachute did not open, and he died on impact. Like Easter, the poem is beautiful and sad, and life and death collide in its last line.

Oh, I have slipped the surly bonds of earth
And danced the skies on laughter-silvered wings.
Sunward I've climbed and joined the tumbling mirth
Of sun-split clouds - and done a hundred things
You have not dreamed of - wheeled and soared and swung
High in the sunlit silence. Hov'ring there,
I've chased the shouting wind along and flung
My eager craft through footless halls of air
Up, up the long, delirious, burning blue
I've topped the windswept heights with easy grace
Where never lark, or even eagle flew.
And, while with silent, lifting mind I've trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God.

Resurgam

From depth to height, from height to loftier height,
The climber sets his foot and sets his face,
Tracks lingering sunbeams to their halting-place,
And counts the last pulsations of the light.
Strenuous thro' day and unsurprised by night
He runs a race with Time, and wins the race,
Emptied and stripped of all save only Grace,
Will, Love, - a threefold panoply of might.
Darkness descends for light he toiled to seek;
He stumbles on the darkened mountain-head,
Left breathless in the unbreathable thin air,
Made freeman of the living and the dead, -
He wots not he has topped the topmost peak,
But the returning sun will find him there.

(Christina Rossetti)