It's been a while since I posted a Persian update here; it was difficult to keep much momentum when the basic alteration from one week to the next was "Learned a bit, forgot a bit, didn't make much progress". I didn't complete any of my summer exam because I looked at the page and simply couldn't read a word of it. It took me a while to un-freeze my brain; and by that time, the semester was over and there were no lessons.
My erstwhile teacher has said I should come along to the next level of lessons all the same; but I don't think I'd be up to it - and, anyway, they don't fit easily with my other commitments. I may resit the beginners' course in semester 2.
In the meantime, and in addition, I've found another Persian teacher, with whom I'm having one-to-one lessons via skype. Slowly, slowly, I'm making up ground. But... well, you know there's going to be a but.
It turns out that what I'd been learning at the University last year was very, very formal and rather outdated; were I to turn up in Tehran and speak to people, it'd be somewhat as if Jane Austen were to materialise here. OK: I'd be understood, but people'd be puzzled, and I might not understand them too well. What I'm learning now is much more colloquial. Pronunciation is slightly different, with syllables dropped or contracted into each other; some of the long alephs become vavs, too: thus, for example, "they", آنها (anhā), becomes اونا (unā). I've also learned that a lot of people really struggle with dipthongs including the vav - many younger Iranians wish it'd just go away. Thus "sister", خواهر (khahar), is sometimes contracted to خاهر, on the basis that the و doesn't do anything. If you're sending a text, those spare characters can be important! Granted, this kind of shift isn't the sort of thing about which I have to worry a great deal, but the point stands that classroom Persian and everyday Persian sometimes come apart.
(Incidentally, I struggle to pronounce خواهر, however you want to spell it. It's something like khahar; but there's something about the differentiation of the "kh"
sound of the خ, and the "h" of the ه that I struggle to make, and I
keep pronouncing the first "a" more like "ar", too. I don't know why I
have a mental block about it - but, on the other hand, I don't have a
sister either, so it may not matter much all things considered.)
On a slightly deeper level, most verbs in the simple present are indicated by the prefix mi-. Hence "To come", آومدن (amadan), becomes man mi'am, to mi'ai, u mi'ad for I/ you/ he or she come(s); "To eat", خوردن (hourdan) becomes man mi'houram, to mi'houri, u mi'houreh. But some aren't: for example, "To have", داشتن (dāshtan) becomes man daram, to dari, u dareh - except when it doesn't; hence one could say "man mi'daram" for "I have", and people'd think you're from Shiraz, because Shirazis do use the mi- prefix. (Note that the ending of the third person singular is something else that shifts is colloquial Persian; I'd initially learned that verb endings were basically -m, -i, -d, -im, -id, nd; but they're often, albeit not always, -m, -i, -eh, -im, -id, -n in real life.)
10.10.17
"Top of the Lake" may Sink as a Procedural, but Look Beneath the Surface
A couple of weeks ago, BioNews invited me to review Top of the Lake; this is the version I submitted there, free - for better or worse - of editorial cuts.
There's a moment in the final episode of this second series of Jane Campion's Top of the Lake where Nicole Kidman's character Julia reminds Elizabeth Moss's character Robin, a policewoman and our protagonist, that she, Julia, is the 'real mother' of Mary (Alice Englert), the troubled and endangered young woman at the centre of the drama. Mary is adopted: Julia raised her, whereas Robin merely gestated her. An argument about exactly what it means to be a mother is not only important in the relationship between Robin and Julia: it is key to the main plot of the drama.
A body has been found washed up on a Sydney beach, and is discovered to be that of a Thai woman working in one of Sydney's legal brothels. The dead woman was pregnant when she died, but the baby is not genetically related to her; episode 2 ends with Robin's realisation that the dead woman was acting as a surrogate. What follows is a story that weaves together the rather murky worlds of the legalised sex trade and commercial surrogacy, which is illegal under New South Wales law.
Now, it’s worth interjecting at this stage with the observation that, if there’s one thing we learn from Top of the Lake, it’s that Australian police have some very sloppy procedures and conflict-of-interest regulations. Gwendoline Christie plays Miranda, with whom Robin is partnered in the investigation; Miranda is not only having an affair with her boss, but is also trying to have a baby by surrogacy with him. Worried that the foetus taken from the dead woman might be her own, Miranda has a bit of a barney at the office of the clinic that she patronised (matronised?). This strikes me as the sort of thing that might see a real police officer removed from a case, at the very least; but nothing at all is mentioned about it. Police officers having affairs with each other? I’m sure that happens. Police officers engaging surrogacy services? Likewise. Police officers investigating a case that straddles the boundary between legal and illegal surrogacy, at the behest of a commanding officer with whom they are trying to start a family by means of a legally-iffy surrogacy service? Is there no oversight here? At the same time, via Puss, the none-more-sleazy pimp played by David Dencik who has something to do with the illegal surrogacy racket and with whom Mary is besotted, the story is also very personal for Robin – just as was the story in the first series of Top of the Lake. Again: should she really be working on this case?
Maybe there is method in writer/ director Jane Campion’s plotting. There is a good point to be made about how our attempts to separate the private/ personal and the public/ political can only ever be partial, and that it’s often in women’s lives that we see the intersection most clearly. But there’s also a risk here of Robin becoming a slightly rough-at-the-edges Miss Marple: someone around whom Bad Things keep happening, and with whom you probably wouldn’t want to spend too long in a country house. Whether a third series of TotL would be possible without characters becoming mere ciphers for political points is unclear.
Admittedly, it’s a bit early to worry about the plausibility of a programme that might not ever be made; and the implausibilities of this series (or what one hopes, for the sake of effective policing in Australia, are implausibilities) ought not to detain us too long. For there are deep and troubling questions that the series raises.
There's a moment in the final episode of this second series of Jane Campion's Top of the Lake where Nicole Kidman's character Julia reminds Elizabeth Moss's character Robin, a policewoman and our protagonist, that she, Julia, is the 'real mother' of Mary (Alice Englert), the troubled and endangered young woman at the centre of the drama. Mary is adopted: Julia raised her, whereas Robin merely gestated her. An argument about exactly what it means to be a mother is not only important in the relationship between Robin and Julia: it is key to the main plot of the drama.
A body has been found washed up on a Sydney beach, and is discovered to be that of a Thai woman working in one of Sydney's legal brothels. The dead woman was pregnant when she died, but the baby is not genetically related to her; episode 2 ends with Robin's realisation that the dead woman was acting as a surrogate. What follows is a story that weaves together the rather murky worlds of the legalised sex trade and commercial surrogacy, which is illegal under New South Wales law.
 |
| Hands up if you shouldn't be working this case! |
Maybe there is method in writer/ director Jane Campion’s plotting. There is a good point to be made about how our attempts to separate the private/ personal and the public/ political can only ever be partial, and that it’s often in women’s lives that we see the intersection most clearly. But there’s also a risk here of Robin becoming a slightly rough-at-the-edges Miss Marple: someone around whom Bad Things keep happening, and with whom you probably wouldn’t want to spend too long in a country house. Whether a third series of TotL would be possible without characters becoming mere ciphers for political points is unclear.
Admittedly, it’s a bit early to worry about the plausibility of a programme that might not ever be made; and the implausibilities of this series (or what one hopes, for the sake of effective policing in Australia, are implausibilities) ought not to detain us too long. For there are deep and troubling questions that the series raises.
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