I noted while walking the streets this Halloween that the collective totems of horror and fear no longer primarily invoke the supernatural, but adopt an altogether more corporeal form.
International rugby may soon disappear from free-to-air television. This has obviously created a degree of collective consternation about the implication for Welsh mass culture, and rugby’s apparently totemic place within it.
To live and grow up in Newport is to be irrevocably intertwined with the historical forces that built this city. Symbols of the past are etched into the landscape: what we might call our ‘industrial heritage’ is all around us. But these totems are not fossilised relics, and they’re not engaged with passively: they’re the milieu of our everyday life.
If there’s a common thread running through Parthian’s four new collections, it is the relationship between the universal and the particular; specifically, the sense of community solidarity generated through shared surroundings and individual experiences.
It is as clear now as 50 years ago: Welsh literature of any mode will never attain any cultural capital within the wider UK. There is, however, an ironic power in this. While the fragility of a culture under perennial threat is obvious to anyone invested in it, that it holds no value for a wider hegemonic literary culture is the very element which makes it so vital.
Before we start, let us accept a basic truth: there is nothing inherently Welsh about the Welsh media, and there is no such thing as a Welsh public sphere. This is, evidently, a gravely unhealthy situation for the rump democracy that is the devolved Welsh state.
Watching Netflix’s new ‘British’ teen comedy-drama Sex Education, viewers in Wales – and especially Newport – may well be struck with a sense of melancholic uncanniness, of ‘a time that is out of joint’. For despite the shows liberatory and groundbreaking depiction of teenage sexuality, Sex Education is haunted by a Welsh culture and politics that has either died or never was, and whose presence is felt by its absence.
Waeth i ni gydnabod un gwirionedd sylfaenol ar y dechrau un: nid oes unrhyw beth cynhenid Gymreig am y cyfryngau cyfrwng Saesneg yng Nghymru ac ni cheir ychwaith y fath beth â chyhoeddfan neu fywyd cyhoeddus penodol Gymreig trwy gyfrwng y Saesneg. Mae hon yn sefyllfa ddifrifol ar gyfer y gweddillion democrataidd a adwaenwn fel y wladwriaeth Gymreig.
There’s a curious passage towards the end of the first episode of The Dragon Has Two Tongues, an oddly-structured 1985 documentary that tells the history of Wales through the bickering of historian Gwyn Alf Williams and liberal broadcaster Wynford Vaughan-Thomas. Having spent the entire episode hitherto articulating their own visions of a Welsh historiography, the two finally meet face-to-face to state their respective cases as to how the history of the people of Wales can be conceptualised.
The most pressing issue of alternative politics today is how to establish even the possibility of conceptualising (and later actualising) a different way of organising society. When neoliberal capitalism has successfully assimilated into itself all means of cultural production, it becomes almost futile to articulate an alternative.