Art and the Olympics

Commissions for the Cultural Olympiad are unveiled

Today, the winning commissions for Artists Taking the Lead, one of the main schemes in London's Cultural Olympiad, were announced.

Each of the 12 commissions, worth £5.4m in total, was picked from more than 2,000 entries, and will represent the nine English regions and the nations of Northern Ireland, Scotland and Wales.

Until today, there had been relatively little to show from the Olympiad, which has been criticised for lacking leadership and direction. But since the Royal Opera House chief executive, Tony Hall, was appointed this summer as the Olympiad's new chair, it seems at last some progress is being made.

The artists presented their winning ideas at the Oxo Towern, about six miles away from the Olympic site at Stratford. Among the most impressive and ambitious projects were Craig Coulthard's Forest Pitch, for which the artist will be "hiding" a football pitch in a forest, and Alex Hartley's nowhereisland. Here, the artist brings Nymark, an island he discovered in the High Arctic region of Svalbard, to the south-west of England. Some of the other projects seemed less successful, but they were at least far-ranging in scope (giant lion sculptures, bus stops and Lady Godiva, to name a few).

Sebastian Coe told the New Statesman that although the Olympics is predominantly a sporting event, the Cultural Olympiad will be one of the "most serious legacies" of 2012. "One of the accusations was that it [the Olympiad] was going to be the metropolitan 'elite' talking to each other, and it would be very narrowly defined . . . But we could not have been much broader in our approach, from the London bus stops through to the Leeds Canvas where you are using film, dance and theatre all within the same framework."

There has, however, already been a prolific response to the London Olympics from artists in east London. For an "alternative cultural Olympiad", visit the Wick Curiosity Shop.

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Essayism is ultimately about how literature can make a difference

Brian Dillon’s study of the essay is a beautiful and elegiac volume – having read it, I re-read it.

It is somewhat unseemly for a critic to confess that their immediate reaction to a book is one of unremitting envy. But Brian Dillon’s study of the essay is so careful and precise in its reading of a constellation of authors – Derrida and Barthes, Didion and Sontag, Browne and Burton, Woolf and Carlos Williams, Cioran and Perec – that my overall feeling was jealousy.

Dillon is a writer on art and culture and a tutor at the Royal College of Art, and the author of an award-winning memoir from 2005, In The Dark Room, about losing both his parents in his youth. A remarkable meditation on memory, it shares with his other work – an examination of hypochondria, Tormented Hope, and his writing on the cultural significance of ruins – a wide and nimble range of reference as well as a sense of personal grief and literary anomie.

 In Essayism, Dillon deals, with a kind of weary shrug, with the etymology of “essay”. But more than just sauntering through “attempt”, “try” and “test”, he digs much deeper: from essayer he goes to examen, the needle of a scale, an image of control. The essay is both a proposition and the judge of it. What truly comes across in this book is that the essay may well be a sally against the subject, but what is tried, in the final reckoning, are the authors themselves. And, of course, found wanting, in both senses of the word. The essay, in Dillon’s account, is both erotic and absent, lapidary and profuse, and is at its best when always concerned with its own realisation of its inherent sense of failure. Before this discussion of etymology, though, comes a bravura cadenza of topics, placed to make us realise the essay is never about what it claims to be at all.

The close readings of various essayists are counterpointed by chapters headed “On Consolation”. This is some of Dillon’s most autobiographical writing to date. In Essayism he both excoriates and exorcises, using the essay as a flail and a balm. In other
essayists he finds mirrors of his own joys and despairs, particularly in a wonderful piece about Cyril Connolly, which deserves commendation simply for not mentioning the pram in the hall.

Essaysism resists defining its subject. As the critic David Shields has said, you don’t have a drawer labelled “non-socks”; and “non-fiction” is a singularly slippery notion. Dillon’s “essays” range from aphorism to such glorious sprawls as Robert Burton’s 17th-century treatise The Anatomy of Melancholy. Some are journalistic, others are philosophic. To an extent, it is the very fluidity that Dillon admires; but above all he claims to admire style, and he is exceptionally good at defining the styles he likes. He reads more into the placing of a comma in a piece by Elizabeth Hardwick than most critics might find in the whole of her work.

This neatness, as it were, typifies the book. It is about noticing, and scrutinising, and reflecting. He has a keen ear for when a sentence has a word that is somehow out of key – “porcupine”, “broccoli” – yet possesses a strange beauty.

The book shifts into a higher gear when Dillon writes about his own depression. There is never a moment where he asks the reader to feel sorry for him. There is a steeliness in his descriptions of the nebulous haze that anti-depressants led him into; a stoic willingness to face one’s own sadness. Books, and the tiny curlicues of beauty he notes in them, were a kind of redemptive force for Dillon, far more so than Prozac. That at one point he found consolation in the pages of the NME is remarkable.

His account of depression is reflected in thinking about the essay. Is it something composed of fragments and shards? Is it a coolly organised progression? Is it about confession? Is it about concealment? The book’s excellence lies in the way these paradoxes are held suspended.

It seems churlish to mention omissions, but I do so because I would like to read what Brian Dillon would have to say about figures such as William Hazlitt, Richard Steele, Matthew Arnold or Iain Sinclair (perhaps our most essayistic novelist). And Dillon’s assertion about the absence of a literature of sickness is unjustifiable if one considers Thomas Mann, Knut Hamsun, Céline. His canon is, as all are, arbitrary: they are the pieces of writing that mattered to him when they mattered most.

The book, ultimately, is about how literature can make a difference. It is a beautiful and elegiac volume. I can give no greater compliment than to say that having read it, I re-read it. 

Essayism
Brian Dillon
Fitzcarraldo Editions, 228pp, £10.99

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder