Wednesday 24 April 2019

A few more piccies for the entertainment of those who like eating but don’t spend an inordinate amount of time agonising over ‘what that meal just meant’

If you like the pictures I published in my previous post, here are a few more. They are again chosen at random, and I repeat that there is no underlying theme, they don’t represent an exposition of any ideology or theory and I make no great claims for them. They are simply offered in the hope that you might linger over them just a little longer than you might otherwise.

I also occasionally enjoy manipulating a picture so that it is almost but not quite abstract and quite often like a rather ‘artificial look’. But pretty much it comes down to what final result I end up with. If I like where I have arrived, the dicking around stops.

Oh, and none has any ‘meaning’ whatsoever. You don’t eat a well-cooked, well-prepared and well-presented meal (as in ‘the art of cooking’) then spend days and weeks agonising over what exactly that meal ‘meant’. With a bit of luck you simply enjoyed and appreciated eating it. 



































Tuesday 23 April 2019

A few piccies to help you keep your pecker up. No mention of Brexit in this entry, by they way, and I am probably even more relieved than you are

A friend, B (and, yes, B you are B) commented just the other day that he wished I would publish my blog entries ‘by topic’. Well, the more I think about his suggestion, the less I understand it. For one thing although I am ‘serious’ about my blog, publishing entries, as suggested, by topic, strikes me as taking it - the blog - and but also myself just a tad too seriously.

I am ‘serious’ about it in several ways, none of which, though, are very important. Let’s face it: it is just one of several hundreds of thousands blogs published throughout the world and at the end of the day is indistinguishable from all the rest. So, B, publishing entries ‘by topic’ kind of implies that I have something rather worthwhile to pass on, but to save all the busy ‘time-poor’ readers the hassle of ploughing through unnecessary stuff, here’s what I have to say ‘by topic’. Lord preserve me from any such self-importance.

I write this blog for several reasons: in no particular order because I like writing, because I find getting something down on paper helps me sort out my thoughts on some issue or other, because I like making people laugh (or perhaps that should be ‘trying to make people laugh’ - I do hope you have noticed that my tongue is occasionally in my cheek), because I like posting pictures.

Talking of which here are several more. These have gone up on my Facebook page (which you can inspect here) but as they on Facebook they only get to be seen by about 20 ‘friends’, I thought I might post them here, too.

There is no rhyme or reason to them, no ‘theme’, no underlying theory, nothing. I simply enjoy taking pictures - most of these were with my iPhone - then using a particular app, Camera +2, to manipulate them this way and that. Because I am now familiar with the app there is less experimentation, but I still carry on until I get to the point when, for whatever reason, I like the result and stop dicking around any further.

The one thing I shall admit to is that I do like taking pictures of ‘real’ things - pretty much anything - then manipulating the image to the point where it is almost - but not quite - abstract.

I could go on (Christ, can I go on, I was always told to stop talking when I was a child) but it is now almost 7.20pm and I want to see Brighton beat the living shit out of Spurs to ensure my team, Manchester United still have a lifeline to playing Champions League football next season. Well, a boy can dream. Here are some pics, selected at random. These - I shall be posting some more in due course - were all taken comparatively recently.

Wednesday, April 24: There are a few more pics here.

























Sunday 7 April 2019

Two developments at home and the Brexit farce goes on (although it might conclude a week today)

For a blog which has its roots in a diary I kept for about 15 years - handwritten at that - I’ve surprised myself by not mentioning two developments, one of which is surely a big moment in any father’s life. Four weeks ago today my daughter married her boyfriend and the father of her young daughter (who is the sweetest little thing - well, I’m biased, of course, but decide for yourselves from the photograph below. I must admit that in keeping with modern trends I didn’t expect her to marry so soon - she will be 23 at the beginning of August - because as a rule women have been getting married later in life than ever before. I imagine this has a lot to do with the fact that over the past
40 years attitudes to women and the roles assigned to them in Western society has changed a great deal.

Then there’s also the fact that the introduction of reliable contraception in the form of the pill (strictly the ‘Pill’, though I can’t for the life of me understand why it should be given an initial capital) has gradually given women more independence. I know - as a semi-regular listener to Woman’s Hour in Radio 4 for at least 20 minutes every day while I have my bath in the morning - that women still feel hard done by and given that in many sectors they are still not paid as much as a man doing exactly the same job, they certainly have a point.

But where we are today is a million miles from the set-up that they were regarded as just so much chattel, had no rights, could not own property and where being forced to have sex by their husband was not seen as rape. However, she has been to university and has graduated and is slowly setting up a childminding and babysitting business so it’s not as though ‘early motherhood’ - early compared to previous generations - and married life will, as happened so often in the past, close down her life.

. . .

The second development is that my very old and very frail father-in-law has moved in with us. He needs constant care and my wife has given herself over to that (although her dedication and conscientiousness notwithstanding, her brusque attentions and constant scolding often make me squirm. I don’t think I am talking out of school (and if I am, what the fuck, but then no one in my immediate family reads this blog) when I say that in some respects the Cornish can be quite singular, but that in the context of being Cornish her family might be regarded as more singular than others, and finally in the context of her family my wife might well be regarded as more singular than her siblings. I hope I have put it delicately enough. But to her credit she is, as I say, conscientious and hardworking.

My father-in-law is now in a very poor way. His father lived until he was 100 hundred - quite possibly because he was a farmer who didn’t drink or smoke - and my father-in-law is now within a few years of hitting his century. His wife died about 15 years ago and he subsequently lived on his own up the road (he had long retired and one of his sons took over the farm just a stone’s throw from where I now live). About 10 years ago - these figures are very approximate - I was diagnosed with prostate cancer but it was not the aggressive kind and he opted to have not treatment for it.

Over the past few years the cancer has spread and about last autumn, after falling several times, he left his cottage and moved into the farm. However, my sister-in-law runs a B&B for families with toddlers business as well as three holiday cottages, and with the holiday season soon to start she is unable to tend to him.

His family decided to put him in a care home, but my wife didn’t like the idea of it, so he has moved in with us, living in the room downstairs behind the kitchen my son has left vacant now that he has gone to university. He is, as I say very frail, and gets increasingly confused, but at least he isn’t wilting away in come home several miles away.

. . .

This whole Brexit farce is still not settled and the next deadline is the middle of the week when our gracious and noble Prime Minister Mrs Theresa May must get a rabble of MPs to back some deal which will govern Britain’s departure from the European Union if we the country is not most certainly to leave in seven days on April 12. That was already a delayed deadline, and if Mrs May can get backing for an agreement - as far as I can see any agreement, Britain’s departure will again be delayed until - I think June 30. it was to be May 22, but for some reason everyone and their cat is now talking about June 30.

I don’t mind admitting I that what with Canada Plus, Canada Plus Plus, Norway, Common Market 2.0, calls for a second referendum, calls for the Leader of the Opposition to wear his pants inside out and calls for I don’t know what else, I am utterly at sea on the detail of it all. I voted Remain in the referendum almost three years ago, but that was on pragmatic grounds, believing that of the two options - staying as a member of the EU or leaving the EU - it was overall in the best interests of the country. And I still do, despite bizarre and unjustified suspicions by my sister and brother that I am some kind of ‘secret Brexiteer’ who simply doesn’t have the courage to come clean about it all. What I am not, however, and I think this might be the foundation for their suspicions is an out-an-out cheerleader for the EU. And because I have explained why to them in the past, I think they think that I am some kind of Brexiteer fifth columnist.

I have to say that Britain is now wholly, not to say dangerously, divided between Brexiteers and Remainers, and that doesn’t bode well for the future. What irritates me a lot is that both sides - and the Remainers are just as bad
as the Leavers, giving the impression as many do that they are on the side of the angels - insist that ‘if you are not with us, you are agin’ us’, so when I do try to explain my position on the EU to either side, I am condemned out of hand by both. I think I have in the past done so here in this blog but I’m not going to do so again and can’t even be arsed to go back and check whether I have done so.

Broadly I think the notion of a European Community - note I do not say European Union, but I’ll explain why in a minute - with wholeheartedly co-operation in as many ways as possible, common health and trade standards and all the rest is a very good one and ought to be pursued. I think it all began to go a little wrong with the Lisbon Treaty of which one core element was to try to achieve ‘ever closer political union’. In fact, I don’t think there is anything wrong with that goal in theory, but that in practice it is pie in the sky. Yet even that is not important: what was and is foolish is how the EU has been going about it, insisting that such political union must happen, no ifs or buts.

To demonstrate why I think that is a rather foolish and cack-handed approach I will cite the rise of the populist right in several EU member states, and bearing that in mind the results of the imminent EU parliamentary election in May should prove very informative. I suggest that a wiser EU would have trod rather more carefully in pursuance of is political goal and might, pragmatically, have been prepared to adapt its plans if necessary when it realised there as small but growing opposition to them.

What for me typifies what I regard as a somewhat arrogant triumphalism on the part of some of the European Commission was the hoopla and jollies which attended the introduction of the euro in January 1999. It was rather like celebrating winning Olympic gold before the race was won. Many ‘convinced Europeans’ insist the euro ‘has been a success’. Well, it has if you live in some EU countries, and it hasn’t if you live in others. In several EU countries more than half of those under 25 have been chronically unemployed. Success?

It is often been pointed out - and quite rightly - that the euro would be far more successful if the EU could overall take charge of the national budgets of member states - in fact, there would no longer be ‘national budgets’ - and set taxes for the whole of the EU. This would, in theory, stabilise the euro and allow the EU central bank to impose the control on the currency it needs to. And that is what ‘political union’ would facilitate. But in practice? Really? I suggest those who advocate the measure spend some time reading up on their European history.

That, however, is all irrelevant as far is Britain is concerned. I sincerely believe we shall be out by a week today, and I also am pretty convinced it will lead to deep economic problems for Britain. I think leaving is daft, daft, daft as does the rest of the EU. Given that Britain was the third largest net contributor to the EU budget it looks as though it might also mean problems for the EU. And I rather fear that for one reason or another the future for the EU isn’t half as rosy as all those swilling champagne and slapping each other on the back when the euro was introduced 20 years ago though it would be.

When things do go tits up in many EU countries, I also fear that Britain’s Brexit madness will get the blame. That would be unfair: it certainly won’t help, but if the EU is honest it has other problems wholly of its own making.

Friday 8 March 2019

Don’t do this, kids, ever! It’s the road to ruin, will bring you nothing but grief, ruin your eyesight and quite possibly reverse Brexit (or something — subs please check). So don’t do what I am about to do. Ever!

Well, I trust the headline caught your eye and drew you in, but this has nothing to do with Brexit, yet another bloody heart attack, another rundown of my (or anyone else’s) collection of laptops or anything else (though, by the by I have just, over an hour ago, bought a desktop, a secondhand G4 mirror double door desktop, although I’ve acquired it — a PowerMac at that and in computer terms ancient — for a specific reason, to rescue a long list of email addresses and a database, but that’s just by the by). In fact, I am simply posting this to test the waters. 

A few weeks ago, I think it was, I let on that I was writing a quite long piece along the lines of — I exaggerate, of course, but just a little — what a fraud and piss-poor writer Ernest Hemingway was (in my humble, quite possibly ill-informed opinion), Nobel Prize for Literature and all. And what should you never do? Why, publish — prematurely — work in progress as I am dong now: it often makes poor reading, but...

Writing my take on how, contrary to accepted judgment, Hemingway’s nominal debut novel The Sun Also Rises is not ‘a masterpiece’ and the man himself is not ‘a writer of genius’ has been slow going because I am not the most diligent of lazy bastards. But I am getting there, and today I have written another bit, and I decided to post it here in the hope of getting just a little feedback.

Now I have to say that apart from B., who gives occasional feedback, and P., a friend and M. my sister who both give very occasional feedback, writing this blog and wondering whether anyone actually likes it is like trying to thread a needle at the far end of a deep cave. In fact the only reason I do it is because I like writing, not because I have anything at all ‘to say’.

(It’s always puzzled me why, when you hear Bookclub or some such on Radio 4, the novel being discussed, is these days invariably an ‘ecological thriller’, a ‘memoir of growing up gay in the industrial heartlands’, ‘what it means to be a Somali asylum seeker living in the Forest of Dean’, then for good measure a ‘dystopian vision of the future unless we all stick two bricks in the lavatory cistern and stop global warming’. And on and on and on. OK, we know already, and I doubt there is a novel novel still to be written. All we can do is write it in a different way. As they say, it’s not the joke but the way you tell it. But all that, too, is by the by.)

So, ladies and gents, boys and girls — feedback, please! If you think what I have written is a load of old cack, comment and say so. If you find it interesting, please do the same. But let me, please, please, please know that you are all alive and that I don’t actually — unusual and unlikely though it would certainly be — really do live in some solipsistic hell.

WHETHER Hemingway’s set of ‘rules on writing’ and his ‘theory of omission’ should be taken seriously or not is neither here nor there; but from what we know of the genesis of his supposed portrayal in The Sun Also Rises of a — or as many would prefer the — ‘lost generation’, the prominence and spurious significance it has achieved over the past 90-odd years is more than a little ridiculous.

In those 90-odd years, what is understood by the term ‘lost generation’ is, to quote Hemingway himself, very much a moveable feast, and rooting around the net, it is noticeable how often different sites simply quote one another when they attempt to define it. A great many, particularly sites which provide ‘study notes’ on Hemingway’s novel, simply repeat this from Wikipedia or slight variations of it: ‘Lost in this respect means disoriented, wandering, directionless — a recognition that there was great confusion and aimlessness among the war's survivors in the early post-war years.’

Doesn’t that, one is encouraged to ask, pretty much describe a sizeable minority of every generation returning from war, whether that war was World War I, World War II, the Korean War, the Vietnam War or both Iraq Wars? I rather think it does. So one is then encouraged to ask quite why a particular ‘lost generation’, the one we are told which saw action in World War I and washed up in Paris in the 1920s and notably whose lives were chronicled in Hemingway’s novel, should be singled out as the ‘lost generation’? Isn’t, perhaps, for some an inability to settle down on returning home from fighting — in Britain a disproportionate number of homeless served in the armed forces — a common feature of every society in every age?

Certainly in Britain there was a huge problem with limbless and often mad army and naval veterans roaming the country after the Napoleonic Wars had been concluded. And now that we are far more aware of the post-traumatic stress disorder (PTSD) suffered by many ex-servicemen, shouldn’t we, perhaps, rethink what might cause such disorientation and lack of direction?

In fact, unhelpfully, the term ‘lost generation’ and what is understood by it has become so vague and convoluted that rather as functioning as a general term for many, it is often used to refer specifically to the colony of English-speaking writers living and working in Paris in the 1920s.

So, for example, reviewing a re-issue of Hemingway’s book A Moveable Feast in its Books section (‘Reworked, reshuffled, and for what?’, subtitled ‘Ernest Hemingway’s heirs have desecrated his classic Paris memoir’, October 24, 2009, p42) a Vancouver Star contributor, the novelist and poet Brian Brett, writes:

‘The exquisite little volume [A Moveable Feast] was instantly recognized [in 1962 when it was posthumously published] as a masterpiece for the way it captured the life of an impoverished young writer in the fever of Paris in the early ’20s where he lived among a cluster of soon-to-be-great artistic companions now known as the Lost Generation. What luminaries he met! James Joyce, T.S. Eliot, Pablo Picasso, André Masson, Ford Maddox Ford, Gertrude Stein, the generous Sylvia Beach, Ezra Pound, F. Scott Fitzgerald.’

This might just be a case of a writer picking on one definition rather than another, or simply just getting it all wrong and a sub-editor/copy-editor not quite being on the ball, but the ‘luminaries’, Hemingway’s ‘artistic companions’ in the ‘fever of Paris in the early ’20s’, would certainly have been taken aback to be described as a ‘lost generation’. Ford Maddox Ford did see action after working in a British government propaganda department (he enlisted at the age of 41), but Pound, Joyce and Eliot did not serve, and although Fitzgerald enlisted, the war ended before he could be deployed to Europe.

I don’t doubt that they all felt a moral disgust for the justifications for that pointless way and at what had been perpetuated by all sides, but on the other hand the zeal and artistic dedication of these self-conscious
modernists does not sit at all well with a description of them as ‘disoriented’ and ‘directionless’, whereas Hemingway’s mooted ‘lost generation’ as supposedly portrayed in The Sun Also Rises was nominally composed of entirely different men and women, men and women who could think of nothing better to do than drink themselves into oblivion every night and have sex.

. . .

The decade after ‘the Great War’ had ended in November 1918 certainly saw a fair degree of turmoil, change and upheaval throughout Europe, but despite the threat of revolution in Germany and rampant inflation in the Weimar Republic until 1924, and despite industrial problems in Britain which culminated in the General Strike in May 1926, economically most nations experienced increased prosperity from the early 1920s on until the depression which followed the Wall Street Crash in October 1929. Even France’s description of that decade as les années folles (‘the crazy years’) was more admiring than pejorative. Because of the number of men who were killed in the war — an estimated nine million on all sides — there was certainly an imbalance of the sexes, yet that was by no means the whole picture, and the social upheavals experienced in the so-called ‘Roaring Twenties’ (with the second half of the decade even referring to itself as the ‘Golden Twenties’) also saw women feel more liberated socially and sexually, possibly because there were fewer men available to partner with.

The decade also saw the development and the widespread adoption of domestic gadgets, affordable cars and telephones; the film industry grew enormously, and the public began to celebrate stars of the silver screen and radio; writers such as F Scott Fitzgerald were also feted and became celebrities, and (Lesley Blume records) fans would even queue up to buy a new edition of a magazine if they knew a new short story by their favourite writer was being published; jazz became the popular music of its day, and the modernism in arts of which Hemingway was so pleased to be seen as a part sent them off in a wholly new direction.

Some — many of the men who did survive the war had to live with, as did The Sun Also Rises narrator Jakes Barnes, both physical and mental wounds — might well have been felt disoriented and directionless, and for them the only solace and release might well have come from a bottle. Others, though also drinking a great deal, rather enjoyed it. In fact, drinking to excess, whether occasionally or regularly, has been a feature of a young life for as long as I can remember and, I’m led to believe, for even longer: are we to accept that essentially we are only doing — or only did — it to seek solace from some pain or other? Might it not sometimes be the case that young folk like to party because they like to party? The question is rhetorical.

. . .

That search of the net came up with varying definitions of who the ‘lost generation’ were (and, as I point out above, many parroting each other), and the online Encyclopaedia Britannica mainly opts for the literary angle. It writes that the ‘lost generation’ is a group of American writers who came of age during World War I and established their literary reputations in the 1920s’ but it then goes on to muddy the water a little by adding ‘The term is also used more generally to refer to the post-World War I generation’.

It adds: ‘The generation was “lost” in the sense that its inherited values were no longer relevant in the post-war world and because of its spiritual alienation from a United States that, basking under Pres. Warren G. Harding’s “back to normalcy” policy, seemed to its members to be hopelessly provincial, materialistic, and emotionally barren. The term embraces Ernest Hemingway, F. Scott Fitzgerald, John Dos Passos, E.E. Cummings, Archibald MacLeish, Hart Crane, and many other writers who made Paris the centre of their literary activities in the 1920s. They were never a literary school.

That description is certainly plausible enough, but it does ignore the simple fact — acknowledged by Hemingway himself in short piece he wrote from Paris for the Toronto Star — that for Americans the very favourable dollar/franc exchange rate allowed them to live extremely cheaply in Paris, at the time regarded as the world’s most vibrant artistic centre.

This would have been especially encouraging for those like Dos Passos, e e cummings, MacLeish, Crane and Fitzgerald intent on making a name for themselves, especially as earning a living from writing, painting or composing was always precarious — Fitzgerald was already doing very nicely, but he was the exception. In fact, there were an estimated 200,000 English-speaking ex-pats living in Paris at the time, although not all of them were American and certainly not all of them were would-be writers, painters and musicians. If you had just left college, didn’t want to settle into a career just yet and wanted to see the world a little, a spell in Paris living high on the hog for very little will have had its attractions.

Some who went to live and work in the French capital might well have done so because they felt a ‘spiritual alienation’ from the United States and preferred to breathe the more nourishing air of Paris, but it is also certainly easier to be idealistic when you are able to live a pleasant and comfortable life on a pittance (and most certainly when you are not starving).

In relation to Hemingway’s novel describing — so the claim — a group of ‘disoriented’ and ‘directionless’ expatriates, there is a further difficulty with the Encyclopaedia Britannica’s description of a ‘lost generation’ that had moved to Europe because of the ‘spiritual alienation’ it felt from the United States. Yet when Jake Barnes’s friend Bill Gorton does allude to Jake being an ex-pat and tells him ‘You're an expatriate. You’ve lost touch with the soil. You get precious. Fake European standards have ruined you. You drink yourself to death. You become obsessed by sex. You spend all your time talking, not working. You are an expatriate, see. You hang around cafés, it reads far more as though he were criticising his friend for choosing to live in Europe rather than in the United States, ‘spiritual alienation’ or not. Jake, his friend Bill tells him has been ‘ruined’ by fake European standards, has become ‘precious’ and has ‘lost touch’ with ‘the soil’ (presumably American soil).

So what is going on? If Jake (and those like him) escaped the United States because they felt ‘spiritually alienated’, they had, one assumes, done the only thing they could to seek some kind of salvation and sanctuary. But if in doing so they had ‘ruined’ themselves, either way they were ‘lost’. Was that what Hemingway was getting at? Was that his point? I don’t think so. I just think he hadn’t quite thought it all through.

But then the claim, which provided an essential element of Hemingway’s overnight success and later reputation, that in his novel he had skilfully defined the despair of a hopelessly disengaged younger and ‘lost’ generation by examining the lives of five of them is full of such inconsistencies and contradictions. Like a great deal in Hemingway’s work, career and reputation from every angle it is approached nothing quite fits.



Thursday 28 February 2019

When friendship dies but the corpse still twitches. Sounds familiar? I’m sure it does to some

I wonder whether anyone reading this has come across the same dilemma: that a ‘friend’ who has been a ‘friend’ for many years is still a ‘friend’, but only because he (or she) has been a ‘friend’ for so many years that it would be odd not to talk of them as a ‘friend; but that when push comes to shove you admit to yourself in your quieter, private moments that your ‘friend’ really isn’t your friend any more. Perhaps, for this reason or that, you even find you can no longer respect that ‘friend’ and wonder whether you even still like that ‘friend’. Are you familiar with any of that?

I am: I have - or had - two such ‘friends’. Both were friends I made at from college, which is where we make many friends - as well as ‘friends’, the quote marks intended to indicate which kind of friend I am talking about.

. . .

I think it is unlikely that at college any of us completely resembles the person we later become as ‘an adult’ (in fact, it is probably a commonplace of which I am apparently unaware and which has already earned me a little scorn from this or that reason for mentioning it). Most of us in our college years, despite attempted beards and boobs, are still at some point in transition from out-and-out childhood to adulthood, although I think I should qualify that claim. First of all — and as usual — there can be no hard and fast rule: a boy or girl of 16 can be a damn sight more mature in may ways, not least emotionally, than a boy or girl of 20, an age when it even seems quite ludicrous to describe anyone of either sex as a ‘boy or girl’.

I also think it’s true that throughout our later life we still change in many ways and, depending upon circumstances, might sometimes do so quite substantially, and there is no point at all at which we are definitively ‘s0-and-so’. Yet it will also be true that whatever changes do come about after the age of 30 has come and long gone — in my case, for example, a rather more responsible attitude to money which developed later in life than might have been helpful (although I am still liable to impulsive, cavalier spending) — they will more be ‘variations on a theme’ with our central personality remaining what it was.

Those two ‘friends’ would most certainly recognise themselves were they to happen across this post, although I don’t think there is much chance of that, so I shall push on. I should also add that I shall be writing about just the one: because I have now finished writing the first draft of this post and am revising it, and realise it would become far too long if I wrote about both. He is most certainly no longer a friend, though at the end of the day as things turned out and despite my growing private thoughts, it was he who gave our almost dead ‘friendship’ its coup de grace.

. . .

I had quite a bit of affection for him when we were at college, although in many ways we were like chalk and cheese, not least in our backgrounds. There was me, the son of a ‘middle-class’ parents who — albeit pretty much by chance and through circumstance — had ended up with a public school education and, especially after being locked away at one for five years, arrived at Dundee University in 1968 with a cut-glass accent there was really no getting passed; and there was Neil (not his real name), the son of a dustman from West London, then Essex, and avowedly, self-consciously, proudly, politically and actively ‘working-class’.

This, remember, was at in the last years of the ‘Swinging Sixties’, when Britain had a Labour government, was in the death throes a post-Edwardian social order, her empire was, if not dead, was dying and those of her once young men who had risked their lives to defend her were now in their young middle-age and in no mood to take any shit from anyone. In short the old order was dead (although recalling what has happened over the past 50 years since then, the cynic in me cannot resist adding ‘so long live the old order’, because as was pointed by a fictional Sicilian nobleman ‘everything must change for everything to stay the same’).

Looking back over those 50 years, in all respects everything did stay the same: the length of skirts might have gone up, then down, then up, then down again, homosexual men who were then the butt of every nasty joke we could think up can now marry each other (and possibly even get their wedding cake baked in a Northern Ireland bakery when no one is looking) and where then you could usually only get olive oil for cooking in a small bottle from your local chemist, you now can get fucking any ‘exotic’ spice or herb from anywhere in the world more or less at your local corner shop. Yet plus ça change, plus c’est la même chose: the richer are still getting richer and the poor are still staying poor.

(By the way, when you read that, please bear in mind that I’m not even a bloody bleeding heart pinko. Oh, and if you are by chance ‘rich’, I don’t suppose you will care as much than if you were ‘poor’, though even if you do regard yourself as ‘rich’, there is still someone somewhere who regards themselves as ‘richer’ and most certianly looks down on you. As I say plus ça change, plus c’est la même chose.)

In those days of ‘kitchen sink drama’ many in ‘the media’ would adopt a ‘working-class’ accent because, believe it or not, after centuries of the underclass, once seen as the scum of the earth, the non-people it was OK to kick from pillar to post, it was suddenly cool to ‘be thought of as one of them or of having evolved from them. But snobbery is still snobbery even when, as then it for a short while, it took complete leave of its senses.

Incidentally, I put those two conventional descriptions — ‘middle-class’ and ‘working-class’ — in quotation marks because I dislike both intensely and sincerely believe that at the end of the day they mean and describe nothing. Many who think of themselves as ’middle-class’ or ‘working-class’ might disagree profoundly, of course, but stuff them, they are kidding no one but themselves. If we are talking real ‘class’, as in ‘a class act’, you’ll find it very evenly distributed throughout the nominal social ‘classes’, and you will also find in many who think of themselves in a ‘class’ above others a distinct lack of it.

Money doesn’t buy ‘class’ and you most certainly need not have money, ‘breeding’ (another horrible, horrible concept) or education to have ‘class’. Think of me as a romantic fool for saying so if you like — although you would be quite wrong to think that — but people are people are people and always will be. ‘Class’ is, as far as I am concerned, a non-description, a chimera, a fantasy encouraged by those who like to justify having more money than others. In fact, a blog post on ‘class’ and why at the end of the day the notion of ‘class’ is just so much cack, might not go amiss, but I must haul myself down off my high horse and try not to muddy the waters by going off on a tangent.

. . .

Neil and I were at Dundee University from 1968 to 1972 when ‘student politics’ were all the rage (and, by the way, what the bloody hell happened to ‘student politics’? Taking a look at why might also be worth a post of its own). Neil was right at the thick of them. Until 1967, the year before I went to Dundee, it had been established as a separate university in a drive by the then Labour government’s to expand tertiary education and make more university places available for everyone with enough brains to benefit from such an education.

Previously for most of the past 86 years Dundee had been Queen’s College, St Andrews, and on gaining its own identity, I suspect it was intent on putting as much clear water between itself and St Andrews as possible to underline it was now independent. (Broadly, I think, Queen’s College had the science, medicine and engineering departments and St Andrews proper kept all the humanities.)

Dundee was quite a small university when it started out, having no more than around 2,000 students (it now has 15,000) and it was — it might well still be the case — quite common for friendships to form right across the faculties, and many friendship groups were wide-ranging and eclectic. Neil was one of the big revolutionaries at Dundee and became Students Union president in his third year and also took control and became the editor of


Annasach, the student newspaper. One of his first decisions was to change the paper’s masthead with a traditional twee Celtic-looking script into one strongly resembling Pravda’s which just screamed ‘seize control of the means of production’.

He and I lost touch for a year or two after graduating — he without a degree if I remember, and I with an Ordinary (though I had read for an Honours) — but were soon back in touch when I was working as a reporter on the Lincolnshire Chronicle in Lincoln and he was living and working in Sheffield. I can’t though remember how we found out where the other was.

By this time Neil was working for in the Sheffield branch of Avis (‘We try harder’), the car rental company and making a good fist of it. He was also, whether consciously or not, slowly re-inventing himself from the out-and-out
socialist firebrand intent on slashing and burning capitalism in any and every shape and form into the successful small business owner he eventually became. In his time with Avis he rather surprised me — who in retrospect always was and, I think, still is a little naive — by becoming very much the company man.

To this day I find it odd when loyal employees talk of themselves and their employer as ‘we’. There’s nothing wrong with that if you want to make a good career for yourself, and I suppose it makes perfect sense, but I couldn’t have done it and never did or had to (although, thank goodness the world of print journalism and newspaper was still on the fringes of most things and that kind of slavish attitude, although I did come across it, was never required. Anyway, I didn’t have much of a ‘career’ and was always just one of the poor bloody infantry).

From Sheffield Neil was moved by Avis to London and lived in Woking where I and my girlfriend of the time visited him and his first wife. Then a few years later while I was working for the Evening Mail in Birmingham I was his best man at his wedding to his second wife, a very nice, very straightforward, very capable woman from South Wales. I can’t remember whether he was already then living in Cambridgeshire, but my girlfriend, also from South Wales, and I visited him and his family there. The two women, both Welsh, did not get on — there was an embarrassing moment when my girlfriend, by then no longer sober, was quite sharp with Neil’s wife about something or other though what the issue was I never knew.

Finally, Neil and his family pitched up in Caerphilly after he and his wife started their own small business installing phones and telecommunication systems. I was living and working in nearby Cardiff (for the South Wales Echo) and had, as several years later when work and life found us both in West London, a standing invitation to Sunday lunch. We always got on well throughout this time. The slash, burn and kill all capitalist running dogs era had long gone, and Neil was by now a keen Labour supporter. I did not support any party, but I have to say we disagreed on little politically. But it was while he was living in Caerphilly that I began to suspect we were on our way to becoming ‘friends’ because we had always been ‘friends’.

I remember one particular instance when, one summer’s afternoon, we were sitting in his living room with a drink or two watching some kind of nostalgia fest on television of bands who were all — in my view — long, long past their prime and The Moody Blues began to play. I had never gone for them and thought their kind of hippy-lite pop was naff in the extreme, but by now, 25 years on, it was all a lot worse: the band were all paunchy and bald or balding and they were even more insufferable. So when Neil came over all nostalgic and more or less began talking of the ‘good old days’ (a conversation I loathe), I was — to my mind suitably — caustic. He didn’t like it and I did sense a certain resentment.

Eventually, we both moved to London. Neil had gone through a very sticky patch in business but had avoided bankruptcy and and a great deal of related trouble by the skin of his teeth, not least thanks to his wife who really did have her head screwed on. Again I had a standing invitation to drop in, and he, his wife and I did see a lot of each other, but there was never the same warmth now. His wife had become even fonder of the booze and it was obvious she was developing a problem (and though I kept up with her as well as with the wacky-baccy which we both enjoyed — Neil never bothered with it or drinking very much — I never developed a problem). Then there came her admission one night when she, always very straight to the point but now also very drunk, announced ‘Neil hates you’.

It was unusual for this to be announced so openly — and in front of Neil — but in an odd way it made complete sense and didn’t surprise me. By now he and I disagreed on much, often quite vociferously although we never obviously fell out. I was getting a bit fed up with what I regarded as a certain dishonest posturing.

By now the distinctive London tones had long been abandoned in favour of a classless, neutral received pronunciation accent which I’m sure was very suited to business meetings, although on some occasions when we were alone he re-adopted them to persuade both of us — it seemed to me — he hadn’t ‘lost touch with his roots’. But he had, of course, and quite willingly, though had he known it and had he broached the subject — I could never in any way volunteer the information without risking sounding snobbish — I really didn’t give a flying fuck either way. The point is he did: I suppose when you are ‘in business’ and have your own small company, who you are perceived is no longer just a personal matter but as much, if not more, a commercial one.

It occurred to me more than once that in an odd sort of way Neil’s wife was far more pleased to see me than he was when I called and that it was partly because I knew the Neil of old. I knew the old revolutionary Neil, the man who had all the red in tooth and claw slogans and arguments at his fingertips, the figurehead at demos and sit-ins, the Neil who was always intent on confrontation with the authority. But by now, 35 years on, the ‘working-class’ attitudes had been left well behind and although I’m sure he wasn’t at all ashamed of them in any way, they were his past and no longer relevant to his present.

Then something odd happened. Late one evening he rang me to tell me his wife had died: she had got up during the previous night, quite possibly drunk — in fact pretty much quite certainly drunk — and on her way downstairs had fallen and somehow killed herself. I had and was given no further details and I didn’t ask for any.

When I was back in London a few days later I went to see him. His children were there, but the only other non-family member was another friend from way back when they had been young lads together in Essex. In the course of the afternoon he and I found ourselves alone and chatted, and it turned out his childhood friend had not really seen a lot of him at all in the intervening years. I mentioned that when Neil had called me to tell me of the accident and his wife’s sudden death, I had been rather puzzled as to why he should have called me. There was no reason why he shouldn’t, but I knew he had a lot of others friends in his social group, all of whom lived far closer, yet none of them were there. Then his friend told me he had thought the same: he, too, had wondered why Neil had rung him to tell him of his wife’s death.

The following week I rang to ask when and where the funeral was to be. Neil told me he didn’t want me to come. Why not? I asked. Because I had sexually molested his daughter he said. Now that will need some explaining.

A few months earlier on one of my regular weekend visits to see Neil and his wife, she and I had drunk a lot of red wine and smoked a lot of wacky-baccy, and at about 12.45 on the Sunday morning his 15-year-old daughter and I were upstairs in, I think a ‘study’, looking up something on the then fledgling internet. (This was in the days when the internet was still occasionally referred to as the ‘world wide web’ and ‘the information superhighway’ and idealists — Neil was one — predicted it would be ‘the future’. Cynics like me insisted that unless and until folk could work out how to turn it into cash it was going nowhere. It was one of the things we argued about. Guess who was right.)

Sitting there, the young lass on my left (I can still picture it now) I, drunk and stoned, for no reason I can think of leant over to kiss her. She, horrified, pushed me away. That was the sum of it. Whether it was sexual molestation I shall leave you to decide. Anyway, on that day a few months later just after Neil’s wife had died and I had come visiting (and presumably had, by then, left the house) she will have told him about my drunken lurch towards her.

I’ve never seen him again since then or been in touch in any way. I didn’t go to the funeral although I would dearly have liked to as I like Neil’s wife very much, but it would not have been very diplomatic. And our ‘friendship’ which had started around 30 years earlier was well and truly over. I have to say that by then I was relieved.

NB There was one occasion when we were at Dundee that Neil asked me for advice: he fancied the daughter of one of the professors and wanted to ask her out. The trouble was that she was irredeemably ‘middle-class’ (for quote marks, see above) and he was worried, very worried it seemed, what his fellow student revolutionaries would think and how they would take it, especially as her father had such a prominent position at Dundee.

I told him to got ahead and stuff what others thought. He did and I can’t remember there being any ‘recriminations’ (‘You bloody sell-out, Neil, fucking professor’s daughter, what about the revolution?’ It is pertinent to note here that, especially given what had happened in Paris in 1968, many of the comrades really did think there was a good chance they could help start a socialist revolution in Britain. Rather like the comrades from Momentum these days.)

Monday 11 February 2019

We’ve all got a book in us (they say) and it’s a shame my father’s never quite saw the light of day

My sister (who, she assures me, tunes into this ’ere blog every now and then) might remember this or she might not, but here goes: for pretty much as long as I can remember, or at least for the last 20-odd years of his life, my father was writing ‘my book’ (i.e. and quite obviously ‘his’ book, not mine. Please do try to keep up). He did almost complete it, after a fashion, but it was never published. He did, though, for a while have a publisher, Faber & Faber no less. But, as I say, in the event it wasn’t published — so strictly that should be ‘in the non-event’.

The subject matter of his book was a good one (and remains a good one, and I’m sure it has been covered by other authors although my father never mentioned any): relations and co-operation between the IRA (or its pre-cursors, one of which was the Irish Citizens Army) and the Germans in both — I think — World War I and World War II, given that they had a common enemy: the British. There was a lot of material and my father, always a diligent man, although I think a slow worker, came up with a lot of ‘new facts’. Perhaps his mooted links, whatever they were, to the intelligence services — well mooted by me - proved useful in digging up facts ordinary joes like you and I would have no access to, but he took so long to write the bloody book that he was overtaken by Fate: whoever it was at Faber & Faber who had come to whatever agreement it was my father had struck with the house had long retired be the time he was on the point of presenting the more or less completed work. His successor — as so often happens — reviewed all existing contracts when he took over, and my father’s went out of the window.

My father’s book is in some ways part and parcel to his affair with the woman who became my stepmother after my mother died which began in the mid-1960s. For one or two reasons I don’t think it was his first affair. I do
remember that at one point in early-1960s when we were still living in Berlin, where he was — possibly nominally or possibly not nominally — the BBC’s ‘representative’ (the BBC also had ‘a correspondent’, one Charles Wheeler, a man of liberal persuasions with whom I gather my father, a man of not quite such a liberal inclination, did not get on) he was taking ‘Polish lessons’ from some woman who lived in, I think, Dahlem or Zehlendorf (both rather nice suburbs in the south-west of Berlin).

On the face of it, of course, there is nothing to suggest that taking off of a weekday afternoon to a nice suburban villa to learn Polish is necessarily suspect, but it does beg quite a few questions, not the least of which is why had he decided to learn Polish when he had previously, to my knowledge at least, never shown the slightest interest in the language (and from what I know of Polish - at least ten different and increasingly obscure ways of saying ‘I am’, for example, and the rules of grammar changing according to the time of day, a decidedly eccentric decision).

On the other hand if he was having an affair, did his explanation that he was simply spending several hours in sunny Dahlem learning Polish irregular verbs really wash? Who knows, but that is neither here nor there, although I think it’s more likely than not that he did stray from the marital bed, especially as my Uncle Pat, his younger brother, once informed me that my father had quite an eye for the girls when they were young. Whatever the story, his final affair began in the mid-1960s, and when his BBC posting to Paris ended in 1972 (he had been ‘representative’ there, too), he and his squeeze were soon living together at her flat in Greenwich.

At the time we lived in Henley-on-Thames, 40-odd miles west of London (or rather my family did), but he only came home at weekends, telling my mother that he didn’t like commuting and was spending the night in one of the bedrooms the BBC had at Broadcasting House for newsreaders and announcers who had to be up early (or something — it doesn’t matter what he told his wife, my mother, as it was all bullshit anyway).

In the mid-1970s my stepmother inherited £7,000 from an aunt and bought a small cottage here in St Breward, seven miles north of Bodmin on the edge of Bodmin Moor, and this became a weekend bolthole for my dad and his squeeze, and I think it was here that work on ‘my book’ began in earnest. Writing it was most certainly one of the excuses he gave my mother for taking off west to the edge of Bodmin Moor for days on end, telling her he was staying with ‘a friend’. In my experience women are not daft, certainly not quite as daft as men, and I doubt whether she believed a word of it or his story about spending weeknights in one of the BBC ‘bedrooms’, but there you go, that was the story.

. . .

I was in my mid-twenties in the mid-1970s when my father and his squeeze established their love-nest and I had started my first job on a newspaper (as a reporter on the Lincolnshire Chronicle, based in Lincoln). It might appear
that I was following in my father’s footsteps ‘into journalism’, but that wouldn’t have been true at all. Having persuaded myself several years earlier that ‘I was writer’, I thought — erroneously as I now know — that working for a newspaper might be a good first step in a writing career.

So I applied for several jobs on newspapers in the spring of 1974, first going to the local library and consulting Willings Press Guide, and then sending off speculative letters to various weekly newspapers and publications up and down the country. I was invited for interview only twice. The first interview (in fact it came not as a response to one of my letters but after I answered an ad in the Daily Telegraph) was with a motoring magazine based in Buckinghamshire and the second with the Chronicle.

I didn’t get the first job, and I’m sure it didn’t help when I admitted I didn’t know the first thing about cars but that I had a good friend who did and who often chatted about them with me. That job, I’m sure, went to someone who had more than a passing interest in motoring and was capable of more than just making small talk about cars. My answer to another question — why did I think I was qualified for a career in journalism to which I responded that, well, I already had a typewriter — would have been equally unconvincing.

But I did survive the interview in Lincoln, with a white-bearded man who had a bad stammer. I can’t remember his name now, but he was a member of the family which then owned the Lincolnshire Standard Group (which no longer exists, in time no doubt bought out by a Dutch biscuit company, then an insurance group and finally by a hedge fund which stripped it of all and every asset, before disposing of what remained of the company in a roadside ditch on the way to Louth).

My job on the Chronicle helped form a kind of additional bond with my father even though for most of his life he had hoped his first-born, my older brother, would be the one to follow him into the trade. But by the mid-1970s, given my brother’s growing mental issues, it was clear that wasn’t going to happen. From then on my father took to buttonholing me instead of my brother at odd moments and reading me what he had most recently written in his book and asking for my opinion.

This always made me uncomfortable. For one thing, I couldn’t tell a ‘well-written’ piece of prose from doggerel, but it was also the case that my father was extraordinarily sensitive and even the slightest criticism could upset him greatly. So on these occasion I was obliged to put on a grand performance and tread very carefully, convincing my father that not only did I agree with what he had written and written so well (about a topic of which I knew less than nothing), but that he had pretty much nailed it and I could there and then think of no way in which it might be improved.

I have a sixth sense for bullshit and often ‘knoq’ when people are lying (although obviously not in the strict philosophical sense of ‘knowing’ and equally obviously there will be many times when I am blatantly being lied to but am none the wiser). I am also certain the world can read me like a book and always knows perfectly well when I am telling a whopper, but apparently not. My father, at least, never caught on, though it is likely that, like most people, he chose simply to hear what he wanted to hear and as I was saying all the right things about his book, keeping it as vague as I dared, he didn’t go into it very deeply.

If I do remember correctly, his style was far too tight and succinct, not to say far too dense to be particularly readable. It might have been a good one when compiling a report for whoever wanted a report, but for the kind of thing he did it did not - in my view - work. After he had died, a BBC friend and colleague was asked by my stepmother to ‘finish’ it and as far as I know did so, but by then Faber’s had lost interest. I also seem to remember that he kept missing various deadlines which cannot have helped sustain the publishers’ interest and at one point he told me he was thinking of re-writing the whole book into a novel. Why, I really can’t guess.

But that was my father’s my book.

. . .


I mention it because - perhaps like father, like son - I have similar enterprise on the go, although in several very crucial ways I am going about the whole exercise very differently (and I fully intend to finish it and a lot more such enterprises before I croak). For one thing, remembering how uncomfortable, not to say bored, I felt when my father would spend a good 20 minutes reading me several passages while I tried to feign interest, I have not subjected anyone to anything similar, and I am anyway a firm believer in not showing anything to anyone until you are certain you are done with it and there is no way it can be improved. Would you pull a half-baked cake out of the oven, have someone taste a slice and ask 'well, what do you think of it so far?'

For one thing when we do ‘ask for an honest opinion’ about something or other, we are doing nothing but kidding ourselves and want nothing of the sort. Instead we simply want to be told how ‘good’ whatever it is we have produced. Something unfinished will certainly not be in any way ‘good’, so in just that respect showing anything to anyone is more than pointless.

. . .

My enterprise serves an entirely practical purpose, unlike my father’s: to learn to write, to learn patience and to learn application and discipline. It was conceived last summer when I read Ernest Hemingway’s ‘debut’ novel The Sun Also Rises and wondered why it was hailed — albeit by the publisher and in review excerpts printed on the back copy — as ‘a masterpiece’ and Hemingway as ‘a writer of genius’. I was baffled by those claims, so baffled that I immediately re-read the novel to find out exactly what I had missed. I hadn’t read anything. Since then the whole enterprise has burgeoned quite a bit as I came across and incorporated more information about Hemingway and the novel. It is moving along slowly because — well there’s no rush and I want to get it ‘right’.

I have already mentioned in an earlier post what — in my view — a complete nine-bob note (US nine-dollar bill) Hemingway was, and his fame and reputation (which has, admittedly, waned somewhat since he blew his brains out in Idaho) had, as far as I can make out, more to do with a hard-headed publishing house wanting to make money and the literary world wanting a new generation of heroes than any particular gifts he had. But anyway that is what ‘my enterprise’ is all about and I am under a strict and self-imposed instruction not to try to start anything else until the whole thing is done, dusted and complete. I shall post it, in parts as it is already almost 10,000 words long, here in this blog.

I am already convinced that I might well be riding for a fall — after all Hemingway was ‘a Nobel laureate’ don’t you know — but fuck it, time to stick to my guns: I really don’t think the guy could write for toffee, and the acres of literary analysis of his work I have come across is essentially nothing by pseudo, highbrow onanism. Incidentally, The Sun Also Rises was not Hemingway’s debut novel at all: his first novel was a throwaway piece he knocked off in just over a week allegedly to get out of a publishing contract in order to get a better one with another house (Scribner’s).

It was a bald parody of the work of an older friend, the now-forgotten novelist Sherwood Anderson, who had done him many favours, not least introducing him to Ezra Pound and Gertrude Stein to help launch him in Paris when he moved there. Anderson was published by Boni & Liveright who had taken up Hemingway and published his first collection of stories, and, so the claim is made, Hemingway knocked off that first novel (The Torrents Of Spring) knowing that in attacking Anderson, Boni & Liveright would refuse to publish it and thus give him grounds for breaking his contract with him. And why did he want to do that? Because he was no big pals with F Scott Fitzgerald who was published by Scribner’s and who championed Hemingway to the house. Anderson was not the first friend and mentor Hemingway shat upon when it eventually suited him — he made a habit of it. A nine-bob note who couldn’t write for toffee is actually being quite nice to the man.

Ah, but there’s me riding for that fall: a ‘Nobel laureate’ don’t you know. Fancy!

PS It’s worth recalling what Peter Cook said when he was informed by some keen young chap at a party that he was ‘writing a novel’.

‘No,’ said Cook, ‘neither am I.’

Saturday 26 January 2019

Beware of those who answer unasked questions (or attempt to intellectualise the moolah out of your pocket). Trust your judgment, it’s the only one you have

A friend who, I gather, regular tunes in here to see read the latest waffle I am spouting was concerned that I hadn’t posted for a while and that, anyway, the posts were getting fewer and further in between. Oddly, enough I had also been conscious of that, too, and had myself wondered why I seemed a tad reluctant to put fingers to keyboard to re-spout a new instalment of Things We Didn’t Know We Cared About And, On Reflection, Still Don’t Care About. I finally decided the fault lay, as a great deal in Britain does these days, with Brexit and related matters.

There’s no getting past it, but what happens - or as now seems more likely - doesn’t yet happen on March 29 has been dominating pretty much all the news here in the British media, and despite something occurring to me and quite often thinking ‘hmm, I wouldn’t mind writing about this or that - ‘this or that’ having absolutely bugger all to do with Brexit - every time I sat down I found myself circling back, like a young teen lad and a girlie magazine, to Brexit. But I didn’t want to write about Brexit.

I shan’t say the subject bores me, because it most certainly doesn’t, but there really is nothing much new to say until we find out how the cookie will crumble come March 29. Yet Brexit is almost impossible to get away from, and I resented it (and don’t think that the irony hasn’t escaped me that this blog entry, or at least its intro, is also about Brexit).

So here is one topic I have over the past few weeks been pondering, and as I think best either in conversation or when writing (usually this blog), considered as a possible blog entry.

. . .

I have lived here (about a mile outside the moorland village of St Breward in North Cornwall, down the hill towards Wenford Bridge (or it could be Wenfordbridge - I’ve read both) where the potter Michael Cardew had his workshop) since December 1995. At some point over those past 23 years I noticed, at Penpont a mile down the back road to Bodmin, a workshop but with a sign outside which proclaimed it to be the workshop/studio of a ceramics artist.

The artist is Jenny Beavan (not the costume designer, but the ceramicist) and from the pictures of some on her website, I find some of her work rather attractive and interesting, other pieces not so much. I have no idea how much she charges, but if I had the money and the space here (and a wife who enjoys ‘art’ as much as I do) I would certainly consider acquiring some of her work. Here are a few examples:

 You can find more on her website or look them up on Google images.

The reason I mention Ms Beavan in this blog is because of what she writes on her website, particularly in her ‘artist’s statement’. I must add that from here on I shall not be commenting specifically about that statement, although I shall quote from it as an example, but a tendency in many to intellectualise beyond redemption pretty much anything to do with ‘the arts’. People can, of course, say - and intellectualise - just as much as they like, but what I question what is ‘said’ is necessarily all it is cracked up to be.

At this point I must take an apparent left-turn, but only to try to help illuminate what I am trying to say. When I was younger, I had rather less faith in my own judgment and intellect than I do now. If I read something I didn’t understand, I immediately and always assumed I was my fault and that I was just a bit too thick to understand it. I now realise I was being a little unfair on myself because often the subject matter was complex, and I had too few reference point and too little intellectual experience to attempt anything even close to comprehension.

For example while at college I came across (or didn’t as it turns out and as I shall explain in a minute) Walter Pater’s admonition that ‘art should shine with a hard, gem-like flame’. Being then, and possibly still, rather too literal-minded, I asked myself ‘now what the bloody hell does that mean? Because I don’t have a clue.’ And being clueless as to what Pater was getting at, I again blamed myself as being just a little too thick. I now think I do know what Pater was getting at and that he was simply being what might well in simple terms be described as ‘poetic’. Furthermore, what he was expressing was not particularly important.

(When I searched the net to double-check the wording of the Pater quote, I couldn’t find it because it’s not what Pater said at all: in fact he said ‘To burn always with this hard, gem-like flame, to maintain this ecstasy, is success in life’, and what he said there is not one mention of art. I suspect what I had heard (or read) all those years ago was an unholy product of a series of Chinese whispers and inky undergraduates, such as me, simply getting it wrong.)

As I got older and had worked as a newspaper sub-editor for some time, I came to realise that often a written piece was opaque going on pretty bloody incomprehensible simply because it was badly written. It is not too outlandish to suggest that if you are trying to communicate, the clearer you are in your expression and communication, the better. But it took a while for the penny to drop and I wonder whether others, as I did, believe it is they who are at fault if they they are a tad baffled by, say, 500 words on art, writing or music. However good an artist is in her or his chosen field, they might not necessarily be good at simple communication.

. . .

I am about to quote from Jenny Beavan’s ‘artist statement’, but I should like to make clear - to Ms Beavan in case she ever happens across this blog entry as well as everyone else - that I am not criticising her but have chosen these excerpts as examples of their kind.

Ms Beavan begins the statement:

‘My work is an exploration into material and place observing in particular processes of interdependence between water and geological change. The intention is to capture a moment in a process of change and to reflect upon the physical and metaphorical aspects of a place as a vessel with containment. . . The experience of walking and being in a place often creates the necessary impulse from which to respond. I will often, almost daily follow a water course through a  familiar landscape, where the activity of revisiting and being familiar with and more sensually aware, helps to shape and re-shape minute and seasonal changes.’

So far so good, and I don’t doubt many are thinking ‘well, that’s straightforward enough, what’s he banging on about?’ But now look at the pictures above of three pieces of her work: Ms Beavan’s statement is all fine and dandy, but would you have deduced any of what it says from the pieces shown (though I admit it is always preferable to see the original piece of plastic art if at all possible - reproductions are worse than useless)? You say ‘it’s just an artist statement, dummy, don’t try to read too much into it’. Well, let me put it this way: does Ms Beavan’s artist’s statement in any way illuminate the pieces? Does it give you a better appreciation of them?

I might seem to be concentrating too much - and thus misleadingly - on Ms Beavan’s work and her artistic statement, but what essentially concerns me is a tendency to intellectualise (which I think it does), especially, although not exclusively, in ‘the arts’. It almost seems to have become an end in itself.

Take what has been referred to Brit art and conceptual art, and take an well-known example of it: Tracey Emin’s My Bed and the prominence it has achieved. Emin conceived of her unmade bed as ‘a piece of art’ after spending


several days and nights in it, drinking and smoking and trying to come to terms with a broken relationship. The ‘work’ was first exhibited in Japan and at the Tate Gallery in 1999 and has since been shown around the world. It was bought by Charles Saatchi for £150,000 in 2000 and four years ago made £2.2 million at auction. When challenged by critics that anyone could exhibit an unmade bed and claim it was art, Emin is said to have responded, perfectly reasonably: “Well, they didn't, did they? No one had ever done that before.”

. . .

Don’t worry, I am not about to launch into a gammon-faced rant against ‘modern art’ and wail about ‘what on earth is the world coming to!’, although I do have unorthodox views on ‘what art is’, namely bloody anything you want it to be (which would include Ms Emin’s bed, by the way). Where I brutally part company from many is in my sincere belief that anyone and everyone can produce ‘art’ and that, to put it mildly ‘art’ is not half as important as it is cracked up to be.

Yet we seem continually to be required to show it a reverence, almost to treat it as something sacred. I suppose the my view could best be summed up in the observation, rough and ready perhaps, but I hope you get the drift, that ‘art’ is not ‘a thing’ but ‘an activity’. Furthermore it is ’an activity’ which everyone and anyone can indulge in, though whether what is eventually

Art can certainly tell us a lot about our and other past and present societies, our self-image, our values and much else, but then so does much else: shopping patterns, TV schedules, economic data to name but three. Art in its many forms gives us a lot of pleasure. Producing art has been shown to have a definite therapeutic value in health care. But as for the reverence we are expected to show and genuflections we are required to make to ‘art’, consider the £2.2 million Ms Emin’s My Bed commanded at auction (with several involved in the transaction each acquiring a tidy sum): would those £2.2 million really have found a new home if the ‘significance’ of Ms Emin’s bed had not remorselessly been talked up?

That is where a great deal of the intellectualising comes in and proves to be very useful to those with an interest in bumping up prices. I cannot guess at the motive of whoever bought Ms Emin’s bed (and had £2.2 million to spare) but I suspect her or his reasons were swayed by the kind of write-up exemplified by this short write-up in Britain’s Guardian from October 2017:

‘With My Bed, Tracey Emin turned one of her life’s great low points, a bedbound drinking spree, into a theatrical arrangement worthy of Jacobean tragedy: a violent mess of sex and death. Amid the yellowing sheets there are condoms, a tampon, a pregnancy test, discarded knickers and a lot of vodka bottles. It’s also very kitchen sink. That blue slab of carpet speaks of lonely rented rooms.’

From my point of view - that is my contention that intellectualising has long ago outgrown its britches - here’s a ‘better’ description of Ms Emin’s bed which appeared in the Daily Telegraph in December 2014. The piece is pivoted on the doubt expressed by a Martin Kemp, an emeritus professor of art at Oxford University who ‘questioned whether [My Bed] is “real”. He thinks that the sweat, stains and vomit pressed into the sheets and pillows cannot have survived for nearly two decades as the bed was transported around the globe. These secretions must, therefore, not be real traces of life, but material added later. And what about those creases? Would Emin’s body really have produced patterns of that shape and size? How did they survive all that handling and packing?’

He makes some fair points, to which the writer of the Daily Telegraph’s piece responds that because van Gogh used synthetic paints, some of whom have proved to be unstable over time so that what he intended to be purple now shows as blue and his bright red now shows as pale pink, are the van Gogh paintings we now exhibit displaying the ‘real’ painting?

It is a rhetorical question to which we are surely supposed to reply ‘well, yes, of course’ with the implicit understanding that each iteration of Ms Emin’s bed - its sheets, pillows, used tissues and the rest - might no longer have anything in common with the My Bed originally exhibited but ‘Would any of those changes make My Bed less real? No, because it’s not a piece of furniture, or even a story – it’s a work of art.

As circular arguments go, that one is hard to beat: it’s a work of art because it’s a work of art. How do we know? Because the woman who produced it said so. Actually, I don’t care, I’m liberal me, except that I do object that because My Bed is a work of art, ergo I am obliged to take it seriously. I also think that by now we have not just entered the emperor’s new clothes territory we are deep inside and, worse, completely lost.

I seem, perhaps, to be concentrating on Tracey Emin, but that wasn’t my intention. Ms Emin can do what she likes (and has done: another of her pieces of art was entitled - it was destroyed in a fire - Everyone I Have Ever Slept With 1963-1995). It is the intellectualisation of what is otherwise banal crap to justify its existence I found hard to swallow.

. . .

I have been taking photographs for the best part of 35 years, and I started in the days before digital photography when we were still using 35mm film. Because of my interest in photography, I like to visit photographic exhibitions whenever I come across one, and they, too, can prove interesting when it comes to intellectualising to the nth degree in order to justify what is otherwise pretty ordinary.

A good picture speaks for itself, so when at exhibitions I come across beside each photograph an A4 sheet of typewritten explanation about ‘what the picture is doing’, why it is significant or variations on that theme, almost always the picture itself is not great. Even if the photographs are not intended in any way to be arty-farty and are meant to be more of a documentary record, they will still manage to speak for themselves. That is not a hard and fast rule, of course (I like to think there are no hard and fast rules except that ‘if it works, it works’) but in general that observation seems to hold true.

To create a worthwhile picture you need - apart from the subject matter - control of the light, that is getting the aperture and shutter speed right and being able to manipulate your light source whatever it is, so I have a great

deal of respect for photographers who get it spot on each time. Conversely, I have less respect for those who flukily produce an interesting image and try to pass it off as they it was something they intended to achieve. That, too, is usually very obvious - from the several hundred words of typewritten explanation on an A4 sheet beside it.

But enough of that. Next time: Brexit and what to wear on March 29.

Pip, pip.