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Another Not Review: Three One-Person Shows in Paris, a One Person Quest in Detroit, and a Couple of Readings

February 3, 2018
bradspurgeon

Julien Cottereau

Julien Cottereau

PARIS – At a recent party of a friend in Paris, I met a guy from Detroit who has lived in France for a couple of decades. We started talking about various personal projects, specifically film and theater. He had made a documentary film about a century of his family’s life in Detroit. His wife was playing in a one-woman show in Paris, the director of which also had his own one-person show. The man invited us to see first his wife’s show, then the director’s. Little did I realize that it was the beginning of a long string of attending one-person shows, readings, theatrical productions – and film – that would keep me musing for weeks on the meaning of one-person productions on stage, in film, with texts, without texts, the physical versus intellectual and emotional theatrical representation and other profound and less profound thoughts. Let me get to specifics:

The man we met at the party was Steve Faigenbaum, who has had a long and varied career in film and video, but whose recent documentary is his first full-length personal, big production. His wife is Yannick Rocher, a French actress, starring in “La Voix Humaine,” by Jean Cocteau, at the Théâtre de la Contrescarpe. The director of the play is Charles Gonzales, who is starring in his own one-man show in Paris, at the Théâtre de Poche in Montparnasse.

Camille Claudel

Camille Claudel


The idea of comparing these two linked shows was too enticing not to try. So it was that after Rocher’s show we then attended “Charles Gonzales Devient Camille Claudel“…and, as you may have realized, this might be called a one-woman show as well… or whatever. (Which set up more strands of musing.)

In between those two shows we saw Steve’s film, “Internal Combustion,” (called “City of Dreams” in France) a story based on his return after 25 years to his home city of Detroit, where he retraces his and his family’s past, but simultaneously tells the history of the city and especially its black and Jewish population. (And, through these, a certain history of the United States itself.) The documentary is in some ways a one-man show, since it focuses on Faigenbaum’s look at his own world where he grew up in Detroit; but it is obviously made thanks to a cast of hundreds, including the crew and the many interview subjects and people of Detroit, dead and alive.

Steve Faigenbaum from Internal Combustion

Steve Faigenbaum from Internal Combustion

As a grand finale to all of this, we went last Saturday night to the Théâtre des Mathurins to see another one-man show, “Imagine-toi,” of Julien Cottereau. One of the reasons we chose to attend this was to have a direct comparison to the other shows: Because it was a performance told entirely through the movements of the body, and not through spoken language. Having said that, it turned out that Cottereau depends hugely for his communicative effects with the audience on sound. But I’ll get back to that in a moment.

I now want to return to look a little at each of these shows in the order we saw them, and in the spirit of my Not-Reviews.*

Yannick Rocher at the Contrescarpe Takes the Neutral Approach to Cocteau

Yannick Rocher’s “La Voix Humaine,” written by Cocteau, and here directed by Charles Gonzales, was the first of the bunch for us. It was in the small, but very cool Théâtre de la Contrescarpe, off the place de la Contrascarpe (Hemingway called this “the cesspool of the Rue Mouffetard,” but it has changed since then, going somewhat upscale). The play is about a woman who has ended her relationship with a lover and is reminiscing with him on the telephone, in a call, or a series of calls. It must have been technically an original concept at the time Cocteau wrote it, to use the telephone as a device for a one-person show.

Yannick Rocher

Yannick Rocher


Well, it still stands up today, entirely. The first performance of “La Voix Humaine” was in February 1930, in Paris, at the Comedie Française, starring Berthe Bovy. One of the original aspects of Yannick Rocher’s production are the decision to portray the role in as neutral a manner as possible. Her voice remains mostly neutral throughout. It gives a modern sense of gravitas to the play that the original production does not have in the same way.

Jean Cocteau

Jean Cocteau

And that leads to the other bit of originality: The use of a recording of the voice of Berthe Bovy in the original production as a kind of backdrop, or dramatic ploy, which makes its “appearance” several times throughout. It’s an interesting concept, that forces the spectator to compare Rocher’s performance with that of Bovy’s. In other words, you have the lines being spoken by the creator of the role, and then you have the same lines being spoken by the actress in front of you, but in a completely different way. That is quite a courageous thing for any actor to dare to do, I would think, being compared simultaneously with the creator of the role. So kudos to Yannick Rocher.

Yannick, I learned later, has done the role elsewhere in recent years, including in the U.S., and she did not do the neutral approach – which fact I found interesting as well, as I thought it must be like trying different ways to sing and play a song I’ve been doing for years in a certain way, and just completely change it. Not easy.

And then we saw Faigenbaum’s Film about Detroit

The story behind Faigenbaum’s film “Internal Combustion,” is fascinating on its own: This is a film all about the city of Detroit and the life of its black and Jewish immigrant population. It is done entirely in English. But it was funded and produced entirely in France. As I indicated, this is a film that might in some ways also be called a one-man show, as Faigenbaum goes on a personal quest back to his hometown and relates his family life through his own words, and above all, those of other family members and local personalities he interviews.

Internal Combustion trailer
But the brilliance of this film is the way the director manages to go from the personal situation into the general one of the history of the city and the life of all of its inhabitants throughout the 20th Century. He charts the movement of the Jewish and black populations, as they move from neighborhood to neighborhood depending on the social developments. A previously Jewish neighborhood becomes a black neighborhood. Some neighborhoods then get wiped out for new projects, highways, modern life that leaves no trace of the old, of the past.

Through it all, is a path of integration – or not – and for me it was absorbing to see an historical presentation – along with the family’s point of view – of the race riots of the 1960s, which I was aware of as a child while visiting relatives on the other side of the border, in Windsor, Ontario, putting a lot of things into perspective for me on a personal level. But I felt the biggest success of Faigenbaum’s film was that fabulous marriage of the personal with the universal, along with Detroit’s story mirroring that of the U.S. as a whole.

And off we Went to the Théâtre de Poche and the Camille Claudel One-Person Show

After the experience of seeing the one-woman show – although I’m not sure that’s the right term for a play with just one actor or actress – we were curious to see how the director, Charles Gonzales, would act and direct himself in a one-woman show starring himself, a man. For I think in some ways it has to be called a one woman show, his “Charles Gonzales Devient Camille Claudel.” Yes, it is a man performing the role of the lover of the sculptor Auguste Rodin, and sister to the writer Paul Claudel. But Gonzales is clearly trying to live in the skin of a woman throughout.

Charles Gonzales

Charles Gonzales

Or maybe not so clearly. In any case, the story of Camille Claudel is one that has a particular resonance in France in a way that it does not elsewhere in the world. She feels in some ways like one of the great women heroes of the country, like Joan of Arc. And yet Camille Claudel’s story is not one of any sort of heroism that saves the republic. It is more some kind of tale with which the whole country identifies and feels pity and sorrow for. A sense of collective something!

A highly respected sculptress herself, the lover of Rodin ended up spending the last 30 years of her life in an asylum. And with a 19th Century twist to it, this 20th Century story is one suspected of having a grotesque lack of humanity attached to it on the part of her family – and society. Was she really crazy or just locked up for convenience?

The piece was written by Gonzales and has been performed in various different locations – he has become recognized as something of an expert in Camille Claudel. And as I understand it, he had special access granted to him by the Claudel family to letters and papers, from which he draws for the text.

Rodin

Rodin

Of course, the originality here is that it is a man playing the woman. On the other hand, I don’t know if it was my lack of adeptness in the French language – although I usually consider myself bilingual – but I could not really see anything in the show to indicate WHY a man is playing this role. I saw nothing in the text or stage actions to indicate the purpose. So I assume it is just the passion that Gonzales has for the Camille Claudel story that drove him to this. And it is clear that Gonzales comes to life through this story, and so carries the audience with him.

The Théâtre de Poche was packed, and with about 90 or 100 seats, that’s pretty good for a play that is running for several months a couple of nights a week.

And off we Went to the Théâtre des Mathurins to see Julien Cottereau in his one-man show

There were moments while I watched Julien Cottereau wow the spectators at the Theatre des Mathurins in his show “Imagine-toi,” that I had a feeling of watching one of the comic greats of our time – or any time. I wondered to myself, “What would the other ones, like Charlie Chaplin, or the Buster Keaton, or Mr. Bean or others who use their body to communicate as much – or more – as their words think of Cottereau?”

Julien Cottereau has a long and illustrious career in clowning and circus, including working at the Cirque du Soleil. He has also worked much in film and theater. This show, “Imagine-toi,” was actually first performed in 2006, and for it he was awarded France’s highest award in theater, a Molière. But it is the kind of show that cannot age. Full of visual gags and audience interaction, it remains as fresh today as if it was just created.

But the most important aspect to writing about it here is that where I say this was a show that has no text, no words, a show that depends wholly on visual gags, movement, it is in fact a thoroughly modern show that could not have been performed at the time of Vaudeville when the idea of a modern sound system did not exist. In fact, it could not have existed through most of the 20th century either, as the key to this show’s main effects is the small microphone attached to Julien Cottereau’s head, and into which he makes his noises.

Julien Cottereau in his show
These noises – sounds of bouncing balls, roaring animals, barking dogs, squeaking window cleaning cloths – are also occasionally treated or added to by a sound man at the back of the room, who appears to add reverb or volume and other effects, when needed. So it may be a visual show based on movement and visual gags, but without those popping, bursting, barking, roaring sounds we would just have a mime. Granted, for me this is a mime of a much more dynamic, modern style than the classic Marcel Marceau. Cottereau’s show is just uproariously funny. And I noted that it was enjoyed equally by children, adults and others.

Together, all of these stage productions really got me to thinking about the nature of living theater. What makes a stage production. The importance of movement. The importance of voice. The importance of sound. Emotion. Of text. And, in fact, as it turns out, since seeing these productions we attended in the last couple of days two other shows that were readings of text alone, one of which in a language we could not understand. Seeing a pure “reading” was a perfect counterpoint to provide us with a comparison to the classic stage production and show the utility of memorisation and stage action in holding an audience’s attention.

* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.

A New Edition of Philosopher of Optimism, and a First Look at a Never-Before-Released Video Interview with the Not So “Angry Old Man,” Colin Wilson

November 26, 2017
bradspurgeon

Philosopher of Optimism

Philosopher of Optimism

PARIS – It has soon been four years since Colin Wilson, one of Britain’s angry young men of literature in the 1950s, died as a not-so-angry old man – at age 82 on 5 December 2013. The anniversary has provided an impetus for a couple of unfinished projects to finally come to life: A new edition of my interview book with Wilson, called, Colin Wilson: Philosopher of Optimism, and the release of some excerpts from another interview I did with Wilson in the same year of the book publication, in 2006. For the book, it was time to update the story and write about the rest of Wilson’s life after the interview, as well as to write a new preface in which I talk about the strange way this book about optimism came at the time of my life when I needed that sense more than ever before.

For the film, it made sense for this project that has been hibernating for 11 years, to finally see some daylight. So it is that Excalibur Productions of Yorkshire, in the UK, and Michael Butterworth Books of Manchester, all agreed to release some excerpts from that never-before-seen video interview between Wilson and me. For me personally, it was very strange to see myself 11 years later, in another lifetime, and having survived that dark period. For fans of Wilson’s writing and philosophy of life, it is a great moment to see this extraordinary British writer as if coming back to life.

Wilson, for those of you who do not know him, shot to world fame at the age of 25 in 1956 with the publication of his first book, called “The Outsider.” It was a kind of popular introduction to existentialism in the UK, a study of such outsiders as Nijinsky, T.E. Lawrence, Hermann Hesse, William Blake, and many others. It came out at the same time and was reviewed at the same time as the playwright John Osborne’s “Look Back in Anger,” and the British press decided to label these writers “Angry Young Men.”

Colin Wilson Philosopher of Optimism New Edition and New Interview

The label would be passed on to many other writers of the time, such as Alan Sillitoe, Arnold Wesker, Kingsley Amis and others. Wilson would be no doubt the most prolific of them all, and he was also the one that was ultimately the most difficult to pin down and label as a writer beyond that initial effort. He would write books covering such a diversity of subjects – crime, the occult, philosophy, psychology, biography, fiction and many other things in over a hundred books through his life – that his reception by the critics and the British literary world in general, went through a permanent roller coaster of a ride between respect and reviling him throughout his life.

Few readers of influence ever managed to, if not categorize, then at least understand what he was trying to say through this wide cross-section of works. My interview book with him, based on an interview at his home in 2005 – for a story I wrote about Wilson in the International Herald Tribune and The New York Times – managed somehow to tie together all the disparate parts and make a consistent whole out of Wilson’s oeuvre.

“Wilson’s philosophy of optimism runs like a clear thread through all of his varied works,” is how my book’s publisher, Michael Butterworth Books, puts it. “It is at the very battlefront of the fight against the pessimistic world-view. At its core lie the twin concepts of ‘intentionality’ and the ‘peak experience’, which show us that if we open our eyes and direct perception properly we can use our minds in the most positive sense to bring change to ourselves and to the world about us.”

Not long after the book was published, I was invited by the Excalibur people to interview Wilson on camera. This interview too was a long, wide-ranging one that lasted some two hours in total and touched on just about all aspects of his life and writings. Somehow, for many and varied reasons, the film never got released…until now with these excerpts.

Colin Wilson

Colin Wilson

So I hope you enjoy this “blast from the past” because it is just as pertinent, or even more so, to our chaotic and difficult present….

By the way, although the official publication date of the book is in early December, the book is now available to be ordered either from Amazon (and other such sites) or directly from the web site of Michael Butterworth Books.

And the excerpts from the 2006 interview are in the video linked above. Check it out!

Oh, and before I forget. I think that we are in perhaps the beginning of a new wave of appreciation for Wilson, as I say in my new preface, with most notably the publication last year of the first full-length biography of the writer, called, “Beyond the Robot: The Life and Work of Colin Wilson,” by Gary Lachman.

A New Not-Book-Review: Maxime Vachier-Lagrave, “Joueur d’échecs”

October 18, 2017
bradspurgeon

Maxime Vachier-Lagrave

Maxime Vachier-Lagrave

PARIS – Until I began playing chess as an adult nearly 20 years ago, there was no activity either sporting, musical or intellectual in my life that I would do unless I felt at least a tiny level of competence. Chess became almost an addiction – the part about playing on the Internet – but I could never fool myself into thinking I was anything other than a horrible, horrible chess player.

As it happens, my son, Paul, was a very, very good chess player from the age of 7 to 15, playing at the national level in France, both amongst children and adults. He suddenly quit chess completely not long after he turned 15, telling me that it would require more work than it was worth to stay at the top levels as he grew older. That made sense. In any case, he quit, while I continued to play as a hack. But I also continued to watch the players of his age group whom he had known or played against as they rose up the categories. One who I had first become aware of when he was about 8 years old, and who was only 6 months older than Paul, was Maxime Vachier-Lagrave. He was already one of the top young players at that time in France, and he continued to rise steadily up the ratings list and through the hierarchy of national, European and world championships.

Lately, this player has reached as high as No. 2 in the world, and currently sits third in the international ratings list. A couple of weeks ago, in France and in French, he published a book about his life in chess (Joueur d’echecs, Fayard) – at age 27 – and I now learn that while I never doubted that this young player would rise up to challenge for the world title, apparently there were a few times in his career when he had his doubts. His rise up the international standings was not quite as fast as some of his contemporaries – like the current world no. 1, Magnus Carlsen of Norway, or even Sergey Karjakin, of Russia – but if you watched his career as closely as I have, or even just look at his career ratings chart on the site of the FIDE, you see a trajectory that goes up, up, up, steadily.

But despite having seen Vachier-Lagrave play in many tournaments, having exchanged a few words with him and his parents, and having observed him at the chess club that he and my son were both members of a little more than a decade ago, I never felt I had any understanding at all about who this kid was, this boy who was so clearly made for chess in a way that my son Paul, despite his natural talent, was not. So when I learned that this new book about his life had come out, I immediately downloaded it into my Kindle. And I was NOT disappointed.

Part of the reason I am so bad at chess is my simple lack of attention span when it comes to reading any book about how to play chess. But Vachier-Lagrave’s book has NO writing about how to move the pieces or what an opening, middle game or endgame is. This book is all about what it means to be a professional chess player today, and how he got there. One of his main stated goals is to show that while the game of chess may be extremely complicated in the eyes of most people, and the top level players may be associated with the kind of madness we find in books like “The Defense,” by Vladimir Nabokov, or Stefan Zweig’s “Chess Story,” or in famous players like Bobby Fischer, who went slightly off the rails mentally, Vachier-Lagrave sets out to show just how normal a young man he is.

“At the risk of deceiving some people, chess players are not robots, not computers with legs, and not mad scientists,” he writes (here in my translation from the French). “Worse, or rather, better: We are just normal people! With our qualities and our faults, our certainties and our quandaries, some strong points and many weak points. Normal people who are in possession of an abnormal talent – in the first sense of the word, that is, outside the norm – in a specific area, which is the practice of chess.”

He puts chess into a completely different perspective than that of the popular imagination, and for that this is a book that can be of interest to the general reader, although I feel it will mostly be read by an audience of chess players and fans who know who he is. As it turns out, he describes himself almost perfectly whenever he talks about how he may appear from the outside, to others; somewhat diffident appearing, not overly emotional on the outside, but enjoying to let himself go occasionally, including with friends at a bar.

What I realize most through the reading of this book is that like it or not, fair or not, there IS a difference between the extremely talented and those who are not so talented. While Vachier-Lagrave talks about all the hard work he has had to do in his life to achieve the success he has at the moment, he especially emphasises how impossible it is for him to sit eight hours a day, every day, to just study chess. When he does play, he is like a child having fun kicking a soccer ball. It is not work, it is passion. But he never takes it too far, because it is ultimately, also, his profession. In fact, he can go a few days without playing at all, between tournaments. To empty his mind and return with passion again.

But here, no doubt, lies the key to it all – and in contrast to my son’s relationship with chess: First, Vachier-Lagrave says he could never do without chess, that it keeps returning to hims; second, his natural talent is clearly of a massively high level, and his pleasure is rewarded with satisfaction if he works at it so he does not have to work more than he might want to.

But I also found, as I read this book – which, by the way, is extremely intelligently written, and shows a decent cultivation, which is not surprising for a chess player who also took a university degree in math – that the similarities between success in a chess career and success in, say, a racing car driver’s career, are many. I thought often of the memoir, “Aussie Grit,” of Mark Webber, the Formula One driver, as I read this book, because Webber emphasises over and over again the need to go to the absolute limit in order to reach the highest level. Many drivers have talent, but only those who make all the right moves and never give up, arrive at the pinnacle.

There are many talented chess players in the world, but despite Vachier-Lagrave trying to look “normal,” what sets him apart is his exceptional ability to roll with the punches, believe in himself, and to continue that steady rise up the ladder in pursuit of the dream of his childhood to be world champion. This is no doubt due to his exceptional lucidity about how to deal with life’s potential obstacles.

“The pages of the history books are full of these great young hopes who remained great young hopes and never managed to “make it,”” he writes. “Everything is a question of talent, work and desire, but not even those things are enough sometimes. Bad luck and the unpredictable circumstances of life can destroy progress forever, and put to an end a career that looked brilliant before it even started.”

My Own Personal Refugee Crisis – Nanterre Prefecture by Way of Brexit

August 22, 2017
bradspurgeon

doubling back snaking line up at Nanterre prefecture for people with rendezvous

doubling back snaking line up at Nanterre prefecture for people with rendezvous

NANTERRE, France – Thanks to the non-democratic and fixed Brexit referendum in the UK – the population most concerned by the vote, that is, the British passport holders living in the EU, were not allowed to vote – I have entered into a nearly full-time job of seeking out French nationality. I’ve been working on this since July 2016. I have yet to hand over my documents to the French authorities to start the process. Today, I arrived at the Nanterre police prefecture to do just that, only to find that there were hundreds, if not thousands, of refugees and other foreigners standing outside in three different line ups, and by the time I figured out where I was supposed to go, I had already missed my meeting. This was the second meeting I missed, and it can take weeks or months to get a meeting. But this time, rather than feeling a huge sense of anger and frustration, I felt only sympathy for the refugees and others who could not even get the official convocation that I had, and who have to wait hours, days, nights, in front of the prefecture.

This, I learned, by both speaking to people in the lineup and then doing some research online, has been going on for months. It is due both to the refugee crisis in Europe as well as problems within the administration of the public offices of the prefecture. It has been particularly bad since June, although the last time I went with my convocation in hand in early June, there was not any such line up. Otherwise, I would have been warned that it was necessary for me to arrive at least 45 minutes in advance of my 10-minute rendezvous if I wanted to get into the building.

tail end of line up at Nanterre prefecture

tail end of line up at Nanterre prefecture

I was struck by the incredible changes we are seeing in our world today and over the last 35 years. In 1983, while I was preparing in Toronto, Canada to come to study French at the Sorbonne, a colleague of mine at the Globe and Mail newspaper where I was working, said to me: “Your father was born in England, wasn’t he?” I said he was, although he had lived since he was 2 years old in Canada and had never held a British passport, so could hardly be considered English. My colleague said that by virtue of my father’s birth in the UK I was eligible to become British myself. If I became British, I would then be able to work legally in the European Union. So why not try?

It seemed like a great idea. I called the British Consulate in Toronto, asked if this was true, they said it was, they sent me the four or so pages of the application form by mail, I filled it out and sent the relevant paper or two proving my father’s birthplace, and seven days later I received in the mail my British passport and nationality. I never had an interview, never set foot in an embassy, consulate, police station or other official place. I had no lines to sit in, nothing to do but claim my citizenship, then take the flight to Paris, fall in love with the city at first sight, learn French at the Sorbonne, find a job and stay at that same company for the next 33 years, marry a Frenchwoman, father a couple of French (and Canadian) children, and live happily ever after.

Until, of course, the non-democratic, fixed referendum in the UK about Brexit.

Small part of a line up at Nanterre Prefecture

Small part of a line up at Nanterre Prefecture

No, wait. In the early 1990s, by point of comparison, I did decide at one point after the birth of my two children to take French nationality for myself. This would be around 1993 or 1994. I went to the prefecture in Paris, took the application form, and filled it out, gathered together the significantly greater number of papers to that of my British nationality experience, and I filed them with the relevant authorities. I then found myself having to go into one personal meeting after another with the prefecture of my arrondissement, then the main prefecture of police in Paris, also I think with my local mayor’s office – although I’m not completely sure about that one – but in any case, I found myself frustrated at a very busy time of my life having to do one meeting after another, and often finding “long” queues of perhaps 30 people waiting for interviews as well.

When comparing that experience to my British nationality experience, I finally decided that it was too time consuming, and anyway, I had the British nationality, and the Canadian nationality, so why did I really need the French nationality. Would it not be cool, I thought, for my two children to really have a Canadian father, without the French nationality part. Would it not be cool that they could really say their Dad was a foreigner?

So, in what I now regret massively, I ended the process of seeking nationality. I was then told that I had to write a letter explaining to the French authorities exactly why I had ended this process. So I wrote the truth: There is far too much bureaucracy to go through, far too many meetings, far too many lines to wait in, etc.

more line up at Nanterre prefecture

more line up at Nanterre prefecture

I still have my original application form and the paper that says what pieces of identity and other paperwork were necessary to obtain French citizenship. It is minuscule by comparison to today’s necessary paperwork. Minuscule.

Yes, flash forward 2016 and the fixed, undemocratic Brexit vote in the UK forcing British expats to seek out local nationality in their country of EU adoption – or wait with crossed fingers that some kind of solution can be found for these people to not have to return to the UK in a future glut of refugee proportions. The first step was to download from the Nanterre prefecture – the relevant authority where I live – the application form and list of necessary documents. The list is as long as the Bible, and now includes such things as an official paper to prove that you comprehend the French language. This has been instituted since 2012. It is not necessary that you actually comprehend the language, just that you have a paper that says you do. According to my researches, my diploma from the Sorbonne will do this trick, so I felt lucky on that.

But I have spent a couple of hundred euros or more having official translations made of things like my long-form birth certificate, a proof of my parents’ place of marriage and date of marriage (in 1953!, and both are dead), and one or two other items. I have had to provide a proof that I have paid my taxes in France for the last three or so years, and this proof can only come in the shape of a particular official paper from my local tax office. Obtaining that paper is what caused me to miss my first appointment in June, by the way, as the local tax office blamed a computer breakdown that morning for them being unable to get the document. (Although I could see instantly that the person whose job it was to get the document did not want to do the job that morning. She did it that afternoon, but it was too late.)

I have to provide proof of ownership of my apartment, my employment history in France, my personal addresses for practically my entire life, a stamp to pay for the work of the bureaucracy…the list goes on and on and on. And it takes forever to accumulate all of these papers.

But the worst part has been the part of the process that has been automated to help the unfortunate, under-staffed civil servants of the prefecture of Nanterre: In order to obtain a rendezvous of 10 minutes to hand over all of these documents and begin the process of naturalisation, I have to go onto the web site of the prefecture and make that rendezvous via a special dedicated page and system. This, I learned after months of trying and failing, can only be done on Mondays at high noon!

Yes, every Monday only, the Nanterre prefecture reboots the citizenship rendezvous system and the charge begins. Try it out for yourself! Go to the site, and at noon, start your slot machine going. I have tried week after week for up to an hour and a half each time to try to get through the process of booking a rendezvous. That period is spent getting through various stages of the process before I either find that the place I am being promised no longer exists – it’s first come, first serve and the computer seems to accept hundreds of people for each spot before the fastest mouse manipulator wins the meeting – or the site simple “times out.”

view from across the street of Nanterre prefecture and its refugees

view from across the street of Nanterre prefecture and its refugees

What is happening, of course, is that there are thousands of people, perhaps even 10s of thousands of people, every Monday logging in at the same moment and trying to win the lottery. This kills the server of the prefecture. The whole process goes on until all of the rendezvous spots have been taken, and then it goes dead for another week.

I first learned of this process in around January or February, and scored my first successful rendezvous hit in around early May for the meeting in early June. I missed that meeting by about five minutes thanks to the tax office mishap, but even then it was hopeless as I did not even have that tax office piece of paper proving that I had, yes, paid all my taxes for the last 3 years (as well as the last 33 years).

As an aside, although the tax office sent me that piece of paper that afternoon and told me that they would send the original by post, it took another three emails over the next six or eight weeks to actually receive the original by post, and ensure that I had all the documents ready for this morning’s rendezvous. (Which, by the way, I was able to score in a record three week period of seeking.)

Today, having left 40 minutes early from my home to do the 17 minute-drive to the prefecture, I was feeling very proud of myself until I encountered traffic on the quays due to a car stopped on the edge of the road, which resulted in my not arriving 20 or 24 minutes early for the meeting, but only about 11 minutes early. And that is when I encountered the refugee crisis and realized that I had once again missed my appointment and would have another couple of months of waiting to do before I could even leave my papers (which I keep having to update in certain areas with newer papers as time moves on, by the way).

Today, I spoke to a couple of people in the line ups and realized they came from all over. One guy was a Sri Lankan trying to get a refugee visa for his passport. He told me he had been coming for days without success. He was in the line yesterday for three hours before being refused entry.

There were three different line ups, including the shortest line up being for people with the piece of paper I had, the convocation. But that line up was being controlled by policemen, and they were holding off the line up and sending people in through the gate in groups in order to go through the security check before being allowed to enter the building. That security check line was about 25-people thick when I had already hit the deadline for my meeting, and I knew that I would be 15 to 20 minutes late for a meeting that was set for precisely 9:55, with only a 5-minute allowance for lateness.

It was a lost battle. Again. But my heart went out above all to these unfortunate refugees and others – I read in one of the reports (in the Huffington Post) that a 77-year-old man who has lived in France for more than 50 years slept out in front of the prefecture in an effort to renew his papers, after a career of 40 or so years working at Renault and many other years elsewhere. (Update: Here is yet another article from the French press about the crisis at the Nanterre prefecture, this time Libération, published as recently as yesterday and sent to me today by a friend after they read this story by me.

It all made me realize that my own refugee crisis is nothing compared to theirs…but ultimately it also did anger me once again about the spoiled children of the UK who rigged the election in a country that has it so good it has lost its sense of proportion. The UK doesn’t like being in the EU? It wants to create the sorts of difficulties I am now facing for millions of people on every level of society and business? Look at Syria. Look at many African nations. Look at Afghanistan. Look at the countries in the world with REAL problems, and why make more rather than thrive?

A New Not-Book-Review: Mike Nesmith’s Autobiographical Riff, “Infinite Tuesday”

July 24, 2017
bradspurgeon

Infinite Tuesday

Infinite Tuesday

PARIS – You can’t run with the hares and hunt with the hounds, said Ernest Hemingway, referring to what he thought of book reviewers who were also fiction writers. That is why on this blog a few years ago I came up with my concept of the Not Review, which I have done periodically in the form of Not Reviews of music in my “Morning Exercise Music” listenings, in Not Reviews of films, and Not Reviews of books. The idea is I’m not criticizing, or placing myself in a high position of cultural authority, but simply reflecting on books, music or films that I have seen recently, and what they made me think, what they say, how I feel, and what you might want to know about them to see if you want to listen, read or see them. Today, I have put up my latest Not Book Review, this time of the autobiography of Mike Nesmith, the former Monkee, which is called, “Infinite Tuesday.” He also refers to it as an “autobiographical riff.” Check it out on the link above! His is a fascinating story that goes way beyond The Monkees – like, how about to creating one of the first music videos, helping to create MTV, and then there is his mother the inventor of Liquid Paper….

A Night at the Harp to Welcome Home All the Roads after a Year Travelling all the Roads

July 17, 2017
bradspurgeon

All the Roads on the Road

All the Roads on the Road

PARIS – Just a quick note to note the notes noted at The Harp on Saturday night in honor of the return after a year to Paris of Romain Bretoneiche, also known as “All the Roads,” also known as the longtime MC of the open mic at the Galway Pub open mic in Paris. Romain and his girlfriend took a year out of the daily slog to live a little by travelling all the roads of the world in an around-the-world voyage.
Romain and his sister at the harp

On Saturday, at The Harp pub which is located halfway between the Place Clichy and the Place Blanche, Romain and his friends and family organized a party celebrating his return. This is kind of a personal sort of blog item, but I feel that since I must have reported at least 50 times on my visits over the years to the Galway Pub open mic (which is happening tonight, by the way), it was appropriate to report Romain’s return….
Ludow at the Harp

Brad Spurgeon  at The Harp(Photo by: Ludow Forget)

Brad Spurgeon at The Harp (Photo by: Ludow Forget)


Why it was not celebrated at the Galway, I have no idea. But the evening of music and imbibing at The Harp was perfect. I had never been in this pub, and it lives up to its name.
jamming at the harp

A great night, and lots of fun playing on the small stage at the back of the room, despite the general atmosphere of talk, welcoming Romain back in town. Let us see what this fine musician does next….
jake at the harp

Explication of the Text of My Life at the Moment, and the Future of that Life and this Blog

July 7, 2017
bradspurgeon

IHT

IHT

PARIS – No I am not in retirement!!! In recent weeks I have bumped into friends and acquaintances who have wondered about my working status as they have been slightly confused by some of my recent blog posts that make them think that I have, or am about to, “slow down” and “retire.” After another such moment at a bar in the Latin Quarter last night, I decided it was time to make clear to readers of this blog one of the biggest changes in my life “situation,” that came about in phases over the end of last year and the beginning of this year. This blog was always linked to a degree to my world travel to F1 races, so while this is a long, drawn-out and personal post that may not even interest many of my friends let alone a casual reader of the site, it seems to make sense to lay down some markers for the future of the blog as well….

I worked at the International Herald Tribune – which then became the International New York Times – in Paris from December 1983 until December 2016. Last fall, The New York Times decided to close down its editorial and production operation in Paris as part of a global expansion. (Don’t ask me to try to explain that!) This essentially put an end to the 130-year run of creating a newspaper in Paris that started as the European edition of The New York Herald, and that morphed into the Herald Tribune and then in 1967 to the International Herald Tribune (owned by The New York Times, The Washington Post and Whitney Communications), before turning into the International New York Times in 2013 after 10 years under sole ownership of the NYT.

While there was a lot of focus from the media – and rightly so – on the death of this long tradition of an American newspaper in Paris, I want to also note that there still remains a staff of some nearly 50 people in the advertising department and other areas of the New York Times International Edition based in Paris, with many of these people having started out decades ago at the IHT. But as far as producing a newspaper in Paris, with its own editorial and production staff, as had been done since 1887, that came to an end last fall, and 69 people were fired. I was one of these 69 people. But my last, long-standing gig at the paper, which was a full-time job reporting on Formula One car racing, was not one of the aspects of the newspaper that they actually wanted to get rid of. But apparently it made sense to management to fire me along with everyone else, and then offer to me that I continue covering Formula One as a freelance.

This, in any case, is what happened. I at first said yes to the proposal to freelance (I had no choice on the firing business!). It seemed fabulous that I could have my cake and eat it too – i.e., I would receive my indemnities, and my unemployment insurance, and the help from various French organizations designed to aid us in our transition back to employment or, as I chose, to start a new company, and I would continue to work as a freelance. (It’s not quite that straightforward a situation, but that’s what it amounts to.)

But then, in early 2017, I learned that the newspaper would massively reduce the number of special reports about Formula One – the backbone in recent years of my work at the newspaper – to the point that the job I had been doing really and truly no longer did exist! Yes, I would have a handful of articles to write, but not enough to make a living or support a career.

To remain a Formula One expert to write those few articles would nevertheless mean being “on” all of the time regarding the series. Being an expert on F1 is a full-time job, a full-time passion and a full-time preoccupation. All of this would in turn mean that I would not be able to focus enough on my more important job of starting the company – my new legal entity – to build a future life and career. I decided to forgo the bits and pieces of freelance. So it was that the day before I received my 2017 full-season accreditation acceptance for Formula One, my F1 reporting career had officially ended.

Henceforth, I would devote myself to the founding of my new company, which I am calling “Unfinished Business,” and which will be launched officially in November. This will be the legal entity for all of the projects that I am passionate about and was never able to focus on seriously enough while working full-time covering Formula One racing. Before that all-consuming job covering F1 – a gig that lasted me nearly 25 years! – I had many other goals, ambitions and passions in life. This included lots of different and disparate writing projects that had nothing to do with racing. (When I decided to become a writer at age 20, it was never in order to specialize on a single subject, but to explore the world.)

Clown Brad and Ornella Share a Secret

Clown Brad and Ornella Share a Secret

I also have many other areas of my life that are important to me, that need either finishing or further expansion: Making music, finishing my documentary film about open mics around the world, doing future such documentaries, finishing and selling my memoir book about open mics around the world, selling the saleable novels in my drawers, making music videos, writing new songs and making another CD, selling my skills in making and editing videos, and yes, finally, continuing to write for newspapers and magazines around the world, but on all of the many subjects that full-time F1 writing overshadowed. I also want to expand and develop my reach into magazine and web markets that I still have an ambition to write for, but never made it into before. I intend to continue a few sideline activities as well, like clowning around riding my unicycle and juggling!

So while I am in a phase of starting up my company and putting together decades’ worth of paperwork for the transition to this new life, the concept of “retirement” – i.e., losing my ambition to create and execute personal artistic and journalistic and musical projects and earning money – that some people thought might be my current situation is something I can never imagine happening to me either now or in the future.

Ultimately, my life has little changed since I was fired from the NYT last December: I have always worked on personal creative projects outside of the jobs I have done to earn a living to pay for my – and my family’s – livelihood as I dreamed of the creative projects leading to my future livelihood. In that I have been more successful in some areas than others, but that is the way my career grew. Now, I am continuing exactly the same approach to life, but my financial earnings are simply no longer coming from the payslips of the two newspapers where I worked for more than 36 years. (I began at The Globe and Mail in Toronto in July 1980 to September 1983, when I moved to Paris and joined the IHT in December of that year.)

So, for anyone who might have thought that I am about to shrivel up and the sizzle has gone from my life – and therefore from this blog – I just wanted to let you know that the exact opposite is happening. I’m more creatively active and working harder than ever before on the projects that count most to me. And strangely, after working for 36 years in the precarious business of newspapers – I seem to remember a big wave of layoffs at the Globe in around 1982, and the trend never stopped – I have never been, or felt, so financially secure and been able to look so far ahead in terms of where my livelihood might come from as I can since last December when I was fired. That, of course, is thanks to the French social system that was such a big part of my decision to stay in this country during the several occasions when I thought I might leave – the same social system that is apparently part of the reason some international companies want to leave France…. Merci la France!

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