By Kolb T.
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The wars were coming, with their heavy toll. But none of this in me awoke an echo in any part of the public. 35 Such depth of feeling helps the reader to reach some level of understanding, though not empathy, for the situation Grainger attributed to the ‘British world’ as a whole, and certainly provides insight into Grainger’s self-determined project, 33 ‘Sketches for “The Life of My Mother & Her Son”’, quoted in Simon Perry, ‘Grainger’s Autobiographical Writings: New Light on Old Questions’, Australasian Music Research 5 (2000): 133.
45 ‘The People of the Eastern Ice, they are melting like the snow – / They beg for coffee and sugar; they go where the white men go. / The People of the Western Ice, they learn to steal and fight: / They sell their furs to the trading-post: they sell their soul to the white. / The People of the Southern Ice, they trade with the whaler’s crew; / Their women have many ribbons, but their tents are torn and few. ’ Alternative Modernisms, De-Historicizing Grainger 31 often close-voiced texture, with various chromatic strands of counter-melody beneath the principal theme.
But you don’t see the world in terms of fighting. , Self-Portrait, 180 and 179. 20 John Kucich, Imperial Masochism: British Fiction, Fantasy and Social Class (Princeton: Princeton University Press, 2007), 2. See also his ‘Sadomasochism and the Magical Group’, Victorian Studies 46, no. 1 (2003): 33–68. 21 Percy Grainger, letter to Cyril Scott, 20 December 1939, Grainger Museum collection, University of Melbourne. Alternative Modernisms, De-Historicizing Grainger 25 Crucially, in Grainger’s conception of genius, the intermingling of notions of bravery, combat and patriotism on the one hand, and of melancholy and failure on the other can be seen as an articulation of the function of art as critique – the type of function that has been ascribed in recent studies to certain works formerly cast as reactionary.
Amazing Phrasing by Kolb T.