Showing posts with label tree. Show all posts
Showing posts with label tree. Show all posts

Thursday, October 17, 2013

Toon

While we were in Auckland over the last couple of weeks, we frequently noted trees with strongly pink leaves scattered around the city.  They were quite striking, and stood out wherever we saw them.

By chance I met a lady at the zoo - where there were several of these trees - and, since apparently she knew something about trees, I asked her if she knew what the name of these trees were.  She said she thought they were called a Chinese Toom Tree.  I may have misheard her, because in fact they're called Chinese Toon Trees.  She made the interesting comment that while the trees are striking when they're pink, they're almost unnoticeable once the pinkness goes, and they revert to a much more common green.

Seemingly these trees are well-known in many parts of the world, and quite apart from their colour, their wood is useful for furniture, and their leaves for medicinal purposes.


Curiously, neither of the Wikipedia articles I looked at mentioned their wonderful colouring. Yet that seems to me to be their greatest feature. Obviously those who wrote the articles thought in terms of practical uses. I tend to think, as I so often do, in the purely un-useful: therefore it's the appeal to the eye that I found most interesting.

I don't know whether they grow here in Dunedin, but if they do, I'd love to have one!

Friday, October 04, 2013

The Bean Trees [and The Poisonwood Bible]

While staying at a friend's house I came across a book called The Bean Trees by Barbara Kingsolver. I'd heard of her as the author of The Poisonwood Bible, a book I haven't read, but that was all. Anyway it turns out that the Bean Trees is her first book and probably rather different to the later more serious Poisonwood.  By all accounts Bean Trees is a good deal funnier, I suspect, from what I know of the story of the late book. Kingsolver's wit and humorous way with words sparks off every page. In fact the humour is pretty much what holds things in place, because there's only a minimal story, and there are times, especially later in the book, when it feels as though she's being quite didactic in telling us what she knows about the Arizona countryside, even though it may be interesting.  Her characters are strongly written, and often quite quirky, but they don't really get a lot to do apart from having conversations and picnics with each other. The attraction between Taylor, the young woman who finds herself landed with an unwanted child in the middle of the Oklahoma flatlands, and the married school teacher from Guatemala, barely smoulders; there's little real suspense in regard to the subplot about rescuing illegal immigrants, and the child abuse motif that lingers in the background isn't deeply explored. Indeed the climax of the book is more of a way of resolving Taylor's issues with caring for the child she's had foisted on her than with any concerns about whether the couple from Guatamala will get away from the authorities, or whether she'll be allowed to keep the child.

For all that, the book is very readable, and Kingsolver's eye on the world is unique and regularly shows us familiar things in startling ways. Her two main characters (the other one is a married woman whose husband has left and who is always on the verge of divorce but never quite getting there) both have a bit of a learning trajectory, but there's not much in the plot itself to push them towards real change. They somehow manage it on their own, as it were.

Lots of homespun wisdom - some of it hilariously suspect - lots of grumpy old women, some weird children, some strange locations. Not quite enough for a book to have real impact but certainly a book with a particular voice that's worth hearing.

I've now read The Poisonwood Bible. Here's the review I posted on Goodreads in April 2014

This is a brilliant book about a clash of cultures, spiritual viewpoints and personalities...until around page 450 (out of 600) when it begins to sashay into a book about how awful American culture is and how interfering American politicians are in world affairs. Those two last aspects have a degree of truth, but they aren't what the book is truly about. They've been implied throughout, but when they take centre stage they distract from what is going on in the real lives of the characters. I found the last hundred pages went nowhere for me: the chief antagonist of the book, the father, had disappeared from the centre of the story, and was replaced by invisible male antagonists at a distance, both Congolese and American. I finished up skimming those hundred pages because they merely detailed more of the three girls' lives and took the story nowhere.

There are many wonderful things in the book: the different voices of the five females, the detail of Congolese village life and the Congo itself, the host of minor characters. The father, who, unlike the five females, never gets to speak for himself but is only seen through the women's eyes, still manages to be a huge force to be reckoned with in the story. Once he's gone, however, the story has no centre anymore. Like him or not, (and he's almost impossible to like) he is the character against whom the women play out their lives, since they don't particularly get on with each other. After the big climax around page 400 or so, he remains offstage, and we only hear about him in passing. His death (still offstage) while it may be justifiable in terms of 'balance,' seems contrived. 

Christian mission plays a huge part in the story (and then this aspect gets lost as the politics take over). I've recently been re-reading Vincent Donovan's Christianity Rediscovered, a book about a Catholic priest who has to rethink his own cultural viewpoints in order to convey the essence of the Gospel to the Masai, and does so successfully. The father in The Poisonwood Bible, for all his vitality, never understands that his cultural view of Christianity is making him miss the mark in trying to convey Jesus to the Congolese. There are other Christians in the story who have better managed to integrate Christianity into the Congolese culture, though they play a relatively minor role. Kingsolver writes rather ambiguously about the Christian aspect of the story: we can see that the father hasn't got it right, but only occasionally do other members of his family get it right themselves.

This is certainly a book that keeps you thinking about it, so I 
guess that makes it successful!

Sunday, February 10, 2013

Out of its tree

We watched the world’s most boring movie last night, always hoping something would move forward, but no.  The Tree, an Australian movie with French co-production, was about a family of four children whose father dies suddenly.  The mother goes into total grief and depression and can’t seem to move forward.  The tree becomes a symbol of the father’s ‘presence’ for the only girl in the family (Morgana Davies) - a precocious nine-year old - and later for the mother also (Charlotte Gainsbourg), but after a while you wonder if it isn’t having a negative effect on them, since neither of them are coping with the change that’s come on them.  The tree is also taking over the neighbourhood, its roots spreading not only through their large property but also through the neighbours' places. The mother meets a guy (Martin Csokas) whom she likes and it looks as though things are going to go somewhere, but when he offers to cut the tree down (after a huge branch has broken off and crashed into the mother’s bedroom, and after the tree has suddenly come into bloom and spread itself everywhere) both mother and daughter refuse, the latter going up into the branches and staying there.  The dead father, seemingly, (who seemed a pretty nice bloke when he was alive) has apparently become malevolent in death.  Exit the new man in the mother's life.

Thankfully, at the end of the movie, along comes a cyclone and knocks the tree over – onto the house, pretty much wrecking it.  The family 'decide' to move - ‘anywhere, somewhere, ’ says the mother - seeming not to have learned a thing, and leaving the bloke behind altogether.   This last scene, between the mother and the man, is played by Gainsbourg as though she had overcome some challenge.  Ah, no she hadn't.

The thing is weird, with a terribly flat performance by Gainsbourg.  You couldn’t tell whether she was just an awful actress (which is unlikely, given the amount of work she’s done) or whether the part (or director?) just didn’t give her any room for contrast.  Her unceasing underplaying of the thing makes her altogether hard to be sympathetic with, and when the little girl becomes harder and harder and won’t break, we lose sympathy with her too. 

Evan Williams, in The Australian, says...'I shall never see a film as lovely as The Tree...comes close to perfection.'  David Stratton, in At the Movies, writes: 'Beautifully made, beautifully acted.'  And Phillipa Hawker in The Age, says 'A visual and kinetic tour de force that has startling impact.'  Which just goes to show you can't go by the blurbs on the DVD cover.  There's little loveliness (apart perhaps from the cinematography), little perfection, little tour de force.  And not much startling impact.  Sorry guys, you got this one wrong.