Michael:Yes indeed it does and you are right to suggest that the
importance of International Education is an underlying theme of the work.
Jude Sutton gives voice to a political position which I would characterize as
Humanistic Liberalism : a position that is bound up with Kantian Ethics
and Political Philosophy. The Kantian idea of a Kingdom of ends requires a
cosmopolitan regime and a view of human rights that is trans national or
international..
So, Religion and Education do not sit comfortably together in our modern
secularized societies. How do you think the character of Glynn contributes
to your message of finding common ground between these two areas of
discourse?
Michael:Lawrence Durrell is the author I have read and re-read the most
during the past 10 years. His Alexandrian Quartet is a masterpiece and
allows the reader to live in Alexandria in a way that leaves memories
about the place and people as if you had actually lived and worked in the
city itself. The people and events are seen through the eyes of 4 characters
and a process of triangulation or quadrification occurs which gives one a
very real impression of the people and the time they live in. Shakespeare
has also been a regular source of inspiration because of his effortless
unification of prose, poetry and theatre, as has been Dickens, Thomas
Hardy, Laurens van der Post, and V S Naipaul. Given my admiration for
Shakespeare T S Eliots poetry has haunted me since I studied him at school.
Other poets like Dylan Thomas and Robert Frost have also occupied me
periodically. But Lawrence Durrell has always been the star in the sky of
literature that I have tried to follow.
Interviewer:The first chapter of the work is about ships, the sea, deeply
tethered bouys, and you say on the first page that you began to look upon
the sea as a teacher, with respect. You speak also of a calm sea as a
dreaming sea and the rising of the tide of the level of your consciousness.
The sea then makes its appearance in many metaphors and images
throughout the work . Why?
Michael:You tell me. The sea feels like a part of me. Powerful waves and
tidal changes of considerable magnitude are the norm in Cape Town. High
tide in Cape Town would probably feel like a tsunami to someone not used
to such sound and fury. At every high tide I almost expected the sea to turn
the streets of Sea Point into canals. I think I had pictures in my mind of
Venice before actually knowing that the city existed.
Michael:Perhaps.
Interviewer: What is the significance of the title The World Explored, the
World Suffered. For you these seem to be tied almost logically together
rather than be the names for separate independent activities.
Interviewer:The final lecture that Jude Sutton gives is the one he enjoys
the most: the lecture on Aesthetics. He talks about the creation of a film of
the terrible events of this century and he compares this anxiety laden
venture with Giorgiones Quattro Cento landscape entitled The Tempesta
where a storm is looming in the background of figures who are pursuing
their everyday lives without concern for what is coming on the horizon.
Sutton refers to Adrian Stokes and his hope that psychoanalysis will help
us understand the good object in general and the beautiful and the sublime
in particular. Love emerges as a theme of the lectures for perhaps the first
time. Can you say something about this observation?
Interviewer: Looking at your author page on Amazon and reading the first
chapter of your book suggests that this novel is autobiographical. Is it?
Michael:Yes, there are some biographical events which lie behind some of
the content but the work is a work of fiction. The drama and tragedy are not
the focus but the medium for the message.
Interviewer:And what would you say is the message of the first book of the
trilogy?
END