Thursday, June 28, 2012

SOS ~ Save Our Shops. Time for action




In 1991 a ferocious tempest wrecked havoc in the North Atlantic. Sebastian Junger titled his best-selling account 'The Perfect Storm', his phrase since adopted to characterise those cataclysmic events – meteorological, economic or political – that result from a rare confluence of severe adverse forces. Long before the collapse of Lehman Brothers, traders on the British High Street were already in choppy waters, blown off course by the all consuming growth of the supermarkets and a rampant internet.

Add to these threats the credit crunch and a recurrent recession and town-centre shops now face a perfect storm of their own. A walk along any high street in the UK reveals the extent of the damage so far. Vacant shops leave gaps in the grin of even the newest town-centre development. The Sunday Times published an unenviable Top Ten of towns with empty units, a nationwide catalogue of commercial misery ranging from Ulverston with one-in-five, Rochdale with one-in-three up to Holyhead with nearly 40% of shops vacant.

It is a universal problem that needs a local response. Independent traders can batten down the hatches, reduce their costs and the stock they carry while still playing to their strengths – accenting their personal service and celebrating their individuality. The Local Authority could look to use revised parking facilities and charges as a positive incentive to bring in more shoppers.

But these measures are equivalent to relieving oneself into a gale. It could be argued that we have the retail landscape that we deserve; supermarkets are dominant because they are popular, the internet is cheap and convenient and is already the shopping destination of choice for a new generation. No amount of window dressing, street cleaning or advertising will draw the crowds back to the high street in their previous numbers. The battle needs to be for the hearts and minds, as well as the wallets, of the local population.

Market towns grew out the need for sellers and buyers to meet, and from this economic necessity grew the facility for people to socialise. Markets are where people gather, not just to trade but also for the crack, for friendships made amidst the deals. This human interaction is the real casualty of the current retail wars. What society is left when all shopping is with a trolly or a mouse?

This is an SOS.  We need a call to arms to Save Our Shops. Shoppers, you need to be aware that if you don't use them, you will lose them. Do not wait for an election or for Mary Portas to sort things out.  Act now ~ treat every £10 note as a ballot paper. Cast your vote in your high street today. Make a point of shopping independently at least once a week. Numerous simple individual actions can aggregate into a tidal wave of public support.

First published 'Times & Star' October 2009
 

Friday, June 22, 2012

The Reluctant Rambler ~ Wainwright's latest recruit


Virgin on the cliff edge


Knocking on 50 and tipping 15 stone I hear the call of the wild. Some retired friends invite me on the regular Friday ramble; ‘Come for a walk in the lakes’. Yes, I need to get out, it’ll do me good. I’ve lived in the shadow of the fells for ten years and only ever scaled their peaks with a glance. Yes, I can do it. I can manage a gentle stroll.

What will I need? ‘A decent pair of boots and the proper kit – you know the modern breathable / wickable stuff. You’ll need a rucksack for your food and your water, a cap, something to sit on, your binoculars, camera, mobile ‘phone, and bring some extra layers. And some waterproof leggings. And you’ll need a pair of walking sticks.’ I was being laden like a Himalayan sherpa – a far cry from the Wainwrightian ideal of simple pleasures, the high moorland way. As was the next bit: ‘And don’t worry about a map and compass – we’ve got SatNav.’

No sooner were they out the door than my imagination roamed the fells with romantic abandon. I strode manfully along the perilous edge, leaping in one bound from summit to summit. Soon the roll call of trophies would be mine to name-drop; mighty Helvelyn, Great Gable, and Giant Haystacks. In years to come I’ll have bagged the Munros and the Corbetts as well as conquering Snowdonia, the Peak district and the North York Moors. But so far all I’ve climbed are the stairs to bed.

The Bank holiday finds four of us at St Bees reading Wainwright’s plaque marking the 200 mile Coast to Coast trek. ‘Looks easy enough’ I condescend. Immediately St Bees Head rises above the bay taunting me; ‘come on then, if you’re hard enough’.

The ascent soon takes its toll on thigh and lung. After a lifetime I ask if we are nearly there yet. Despite the iron band around the chest and the jelly legs I am told we have climbed just 50 metres. Thousands of pairs of eager feet have carved out multiple paths to the top and I take advantage to sidle off into the crawler lane. A backlog of 10 year olds flip-flop past. I eat their dust and inhale humiliation. But the rest provides the opportunity to savour the view; to feast with my eyes on a landscape out of the ordinary, to marvel at God’s own county.

I retackle the summit in renewed spirit, this time at a steadier pace with more modest strides. I’ve learned my first lesson – it is not a race, the journey is as wonderful as the destination. I take smaller steps and look round often at the retreating beach and the column of ants behind us. At the summit my pounding heart beats with pride before slowing with contentment and quiet satisfaction.

The descent starts well. But I discover that what went up slowly and painfully wants to come down quickly and painfully. Applying the brakes on every step is exhausting and when we reach the foothills with the end in sight I lose the will to check my progress. I have revenge for my earlier humiliation as a runaway juggernaut skittles the juvenile flip-floppers in an uncontrolled slew to the bottom.

I struggle to the car, foolish pride ferments my stagger into a swagger. With the zealotry of the convert I now plan assaults on the north face of the Eiger and the Matterhorn. K2 will be a breeze, Annapurna a piece of piste. Afterall, I am now a climber. It’s official – I’ve bagged St Bee.

JB

Saturday, June 16, 2012

Billy Bragg & Clive James; autobiographies


BOOK REVIEWS  ~  Life is a cabaret

 Willkommen

Welcome to cabaret ..’ intones oscar-winning Joel Grey at the beginning of the eponymous musical. Against a backdrop of circus mirrors that distort the audience’s image of themselves the garish assortment of entertainers reflect on their decadent interwar society. Singers, comedians and musicians act as social commentators, interweaving personal with political while moving seamlessly from the particular to the general.

Clive James and Billy Bragg are two contemporary entertainers whose material both feeds off and informs our current culture. Their two autobiographies conspire to cover the last 50 years; ‘North Face of Soho’ is Clive James’ fourth volume of unreliable memoirs and takes us from his marriage in 1960 to the demise of Fleet street in the 80s when Murdoch moved to Wapping. Billy Bragg’s book is something else altogether.

One of Bragg’s signature songs evokes the ‘Cabaret’ era. ‘Between the Wars’ is more Berthold Brecht and Kurt Weil than Christopher Isherwood but the inter marriage between poem and polemic works well. ‘The Progressive Patriot’ uses the bare bones of his life as the skeleton on which to attach his sometimes didactic anti-establishment diatribes. Bragg builds a body of social comment that neatly dovetails his life story with contemprary British, and particularly English, society. The bookshop customer is as likely to find Bragg’s book amongst the politics titles as among the music books or the biographies.

I was a miner, I was a docker, I was a railwayman between the wars’. Perhaps unsurprisingly Bragg’s prose style echoes his lyric writing; unashamedly proletarian in appeal, direct in style and economic in structure. But his music is not all Dave Spart posturing and nor is this book. Bragg’s best known track, ‘A New England’, is a love song in which he explicitly affirms that personal emotions have primacy over political agenda. Likewise ‘The Progressive Patriot’ makes room for adolescent inadequacies and the poignant first experience.

His musical awakening strikes a chord. At twelve years old he catches a snatch of a song that touches his emerging sense of self and he then spends months tracking it down. ‘I am just a poor boy, ‘though my story’s seldom told ..’ A working class lad from Barking hears a universal truth from another continent and a world of opportunity opens up.


Money, money
Known now principally as a TV critic Clive James’ early witing efforts were also as a lyricist. When he arrived in 1960’s London from working on The Sydney Herald he wrote in every form known to pen and paper; book reviews, film reviews, stand-up, song lyrics. sketches, poetry, and literary biography. He wrote, directed and produced mock epics in rhyming couplets. He even corresponded with friends in verse letters. In ‘North Face of Soho’ James spares us such pyrotechnic poetry and recounts in standard prose his desperation to earn a crust from his fecund gift as a wordsmith.

Graduating from Cambridge and directing Footlights James set about acquiring an income by not saying no to any literary work offered him. This meant saying yes to poorly paid, short-deadline book reviews and on occasions working for free. His new wife was not impressed. However Grub Street embraced him and soon he was accepting poorly paid, short-deadline cinema and radio reviews as well.

James’ arrival and progression as a media observer and contributor coincided with the social and technological revolution of the 60s; in particular looser social mores and mass entertainment for TV audiences. In time Clive James was to prove not merely a rider of this tiger but also the guy with the top hat and whip. TV criticism was looked down on by snobbish literary hacks until James dragged the broadsheets down the cathoray tube and into the light with his highly popular Observer column.

A lifelong journalist Clive James knows that one picture is worth a thousand words and his great talent is to construct phrases that paint a unique and unforgettable image. His favourite and the one widely quoted as his signature witticism was describing Arnold Swartzenegger as ‘a brown condom stuffed with walnuts’. James includes it here alongside other self-congratulatory examples of his abundant linguistic gymnastics. He blows his own trumpet with as much charm as skill and we forgive him the indulgence.

Except it is not a trumpet. He leaves that to Spike Milligan in one of the many name-dropping anecdotes - Clive James drops names like Billy Bragg drops aitches. James blows less of a trumpet and more of a didjeridoo, an instrument that requires the respiratory skill of circular breathing. Whether or not this anatomical trick is on the Australian Schools Curriculum James has mastered it anyway. Each ego-inflating inhalation is paired with an equal exhalation of self deprecatory humour. He boasts of dining with Meryl Streep only to puncture his pride and his palette with a mouthful of needle-sharp fish bones. He persuades his publisher to proceed with his first autobiography precisely because he has achieved nothing in life.


Tomorrow belongs to me

The sparks that combined to ignite the touch-paper to Bragg’s incendiary book were the July 7th London bombing and the election of British National Party councillors onto the authority in his native Barking. Bragg’s self perception is as an interventionist entertainer and he has chosen his autobiography as the instrument to initiate debate and change in our national self-perception. He is arguing for the left to adopt a progressive patriotism to undermine the knee-jerk appeal of the BNP in times of volatile social change.

In one of the early autobiographical chapters Bragg describes the seismic shockwave that blew through Britain when his generation found their identity and musical voice via Punk. An early adherent to The Clash, Bragg recalls his first self-conscious political act in marching through the East End of London to the 1978 Rock against Racism concert in Victoria Park. He has remained a committed anti-fascist ever since and the BNP electoral success on his own manor patently hurts.

Bragg explores Englishness by portraying the classic idyllic models from the past alongside his own family’s experience over generations on the banks of Barking Creek. He quotes Kipling and Orwell alongside his grandfather’s wartime diary. The growth and development of trade unionism is told through his great grandfathers employment at the nearby Beckton Gasworks. His view of Englishness is fundamentally romantic; fuelled by nostalgia for the Trade Union ‘banners of the days gone by’ as much as by George Orwell’s ‘The Lion & the Uncorn’. Onto this traditional core Bragg attempts to graft a modern multicultural identity – not altogether successfully as he admits ‘multiculturalism’ means many different things to many people. Collectivism and tolerance are key – ‘sweet moderation, the heart of this nation’.

Frustratingly we hear only fragments of Billy’s own contribution to the radical tradition, literally one passing reference to the founding of Red Wedge and a guest appearance at an anti BNP rally in the west country and that’s it. This is a real shame as his story and his actions speak louder than his agitprop words on the people’s history. Too many times the energy and interest generated by creative, imaginative and personally inspired writing is disipated by a pedantic lecture. Yet his multiculturally inclusive solution to the rise of the extreme right is beautifully simple – all England should gather under the flag of St George, thus reapproriating our identity and simultaeneously disenfranchising the fascists.

Cabaret

These two books provide sketches and snapshots of English life and culture over the last half century. We witness the liberalising of society during the 60s, the rise of the mass media and the television age, the consequent counter revolutions by punks in the street and by Thatcherism in the body politic during the 70s and 80s, and Bragg’s attempt to address the new world post 9/11 and 7/7.

Clive James never set out to write an illuminating manuscript of social history. 'The North Face of Soho' is a deeply personal, honest and reliable memoir by an entertainer and devotee of words. He has his cake and eats it with glutoness pleasure - he had such fun, and has fun telling us what fun it was. Having tried his finger in every literary pie he plums for Cabaret – he likes the scale of it.

Billy Bragg still has a story to tell and on this evidence he has the skills to one day tell it well. ‘The Progressive Patriot’ applies more to his notion of a model citizen than an account of himself. His song ‘Between the Wars’ is beautifully crafted, summoning up a nostalgic era of banners and a belief in the ‘fellow man’. A safe sepia-tinted period piece you think until Billy headbutts you in the chest with the final line:
Sweet moderation, heart of this nation, desert us not we are between the wars’.


First published in 'THE Book Magazine'  Winter 2006

Friday, June 15, 2012

Austerity ~ British style. 2 perspectives


AUSTERITY ~ BRITISH STYLE.     TWO PERSPECTIVES

HAVING IT SO GOOD, BRITAIN IN THE FIFTIES

 by Peter Hennessy

Ask someone under thirty years old to list a word association stimulated by the 1950s and they will reply ’black & white television’ and possibly not much else. For anyone born in that decade or earlier the iconography is almost limitless; the Atom bomb, walking to school, Bill Haley, horse-drawn deliveries, National Service, the Korean War, Teddy Boys, the Suez crisis, the Festival of Britain, Sputnik, the Stanley Mathews final, rationing, the Goon Show, austerity, and black and white television (including the potter’s wheel). Peter Hennessy’s ‘Having it so Good, Britain in the Fifties’ lists the lot, alongside a detailed chronology of Governmental change and policy shifts.

Chopping British history into decade-sized chunks imposes artificial faultlines in the telling of our Island story. What began as journalistic shorthand has found a permanent residency in our lexicon of national introspection; the 50s were austere, the 60s were swinging, and the 70s were naff. However, global and national events, processes and trends that adhere to their own logic and timescales pay no consideration to the arbitrary falling of a copy-editor’s axe. History thus shoe-horned into convenient media friendly packages is necessarily compromised.

Or is it? There is no one better placed to attempt the task of squaring this circle than writer and broadcaster, journalist and historian, Peter Hennessy. He currently holds the oxymoronic title of Attlee Professor of British Contemporary History at Queen Mary London University, having previously worked 20 years as a heavyweight journalist for The Times, Sunday Times and The Economist. Hennessy’s published track record detailing the Machiavellian machinations in the corridors of power is exemplary. He has examined and dissected the body politic organ by organ; ‘The Cabinet’(1986), The Prime Minister’(2000), ‘Whitehall’(1989), ‘The Secret State’ (2002).

Having it so Good’ is the natural successor to his 1993 publication ‘Never Again; 1945 to 1951’ and is the second in a planned sequence of titles that will climax with the Thatcher ascendancy. At a stroke Hennessy slays one of the dragons of ahistory; his decade sized chunks are merely parts of a greater all encompassing oeuvre.

Having it so Good’ is a thoroughly researched, well documented rifle through government records and papers. This audit trail of primary sources is augmented by contemporaneous comment from the printed and broadcast Press and enlightening and entertaining interviews with key Government and Whitehall players. Hennessy comes across as more than inquisitive, nosy even, in his search for the fuller story. The mental picture is of him rumaging through the drawers in the PM’s desk like Dick Barton, Special Agent. The results of his digging are terrific; not only do we read Winston Churchill’s confidential minutes to and from his atomic advisor re the British H Bomb, but we also get Churchill’s handwritten underlinings and crossings-out from those same annotated minutes. This is the equivalent of the stump-camera in TV cricket coverage. Hennessy gives us detailed slo-mo replays of key decision making moments in history from the heart of the action.

Initial stereotypical impessions of the 50s suggest drab austerity slowly lightening-up towards the end of the decade to allow colour and prosperity to enter everyday life. Hennessy paints a detailed canvas detailing the major national events and geo-political crises interlaced with the gradual improvement of the lot of the general population, viz Atom bombs and Gaggia Coffee bars, Suez and Jazz, the Korean war and the Coronation..



The Coronation of Elizabeth 2nd works well as a vehicle for exploring life in Britain in 1953. Hennessy is able to examine the diminishing significance of the Commonwealth (the Empire as was), the role of the monarchy, and our own sense of self in a world pulled between emerging superpowers. As news of Edmund Hilary reaching the peak of Everest coincided with the ascendancy of a young queen, Britain took comfort from some old fashioned national pride – even adopting the New Zealander Hilary as an honorary Brit. Meanwhile the global forces reshaping the postwar world continued unabated with no reference to Britain. We found ourselves not knowing where we fitted between the decline of Empire, the dominance of the US, the emergence of the Warsaw Pact (1955) and the nascant European Union.

Hennessy’s account of the 50s is largely the story of three Conservative Prime Ministers and how their individual qualities and fortunes coincided with the fate of the nation. Winston Churchill was an ageing force during his final term in power and manifestly was no longer capable of the job, physically or mentally. Unable to cope with briefs more than one side of paper in length, he increasingly regressed into wartime mode, wishing for a government of national unity. His slump into irrelevance mirrored the imperial decline of Britain and lack of global punch. Hennessy documents Churchill’s incredulity that the US would no longer co-operate on nuclear matters, convinced as he was that wartime alliances and understandings still held.

The debate about imperial decline, whether real, imagined or exagerrated hangs over the early part of the book. In Hennessy’s decade Anthony Eden is at the helm when the tipping point finally arrives. The 1956 Anglo-French invasion of the Suez canal zone was a military and political disaster that definitively signalled the end of Britain’s aspirations for world power status. Eden’s fate and Britain’s imperial dreams collapsed together in ignominy. Hennessy unearths a gem from the declassified records. On receiving his orders the British Chief of Air Staff briefs his men with the stirring crie de combat : ‘The Prime Minister has gone bananas’.

The third Tory Prime Minister is the dominant character of the book, whose famous quote gives the book its title, and again journalism and history conflate in the media creation of ‘Supermac’. Just as Churchill had shied away from the radical economic policy of a free floating pound (aka ROBOT) to safeguard the middle ground of Hennessy’s British New Deal, so in 1958 Harold Macmillan dispensed with his treaury team, including his chancellor Thorneycroft, in order to pursue reflationary policies. Macmillan had witnessed the consequencies of a deflated economy as an MP in the interwar years and was determined that Britain would never experience such rampant unemployment and dire deprivation again.

Macmillan’s fortune was to stoke the economic fires at a time of global economic growth. The decade closed out with output up 10%, unemployment down 100,000 and a record drop in the Balance of Payments deficit. There was an electoral dividend to be reaped from having it this good in the form of an emphatic Parliamentary victory in 1959.

Interspersed with the Cabinet minutes and the tables of economic output are lighter analyses of newspaper reading habits, cinema attendences, changes in musical taste, and patterns of worship. However the overarching shadow of the Bomb is never far away. Hennessy makes the extraordinary revelation that in 1951 Churchill inherited a clandestine H Bomb programme that Parliament had known nothing about that included a hidden £100 Million annual spend.

Hennessy’s great attribute is as one of the power elite. From his university education, via his prolonged stint as Whitehall correspondent, and the comprehensive research undertaken repeatedly for his numerous books and broadcasts Hennessy has become part of the world he observes. This is another of his productive contradictions as a social commentator; not only is he a contemporary historian but he is an objective insider.

So he is able to lunch with Mervyn King, one-time Governor of the Bank of England and one-time student flat-mate, and elicit responses others would not be able to. In a neat journalist trick Hennessy asks King to jot down on the back of the menu those defining challenges that characterised Britain’s Post-War economic peformance. Without warning, and without hesitation or prevarication, Mervyn King lists seven bullet points which Hennessy is later able to digest and test at his leisure. He finds King is on the money, literally.

He plays a similar trick on former Tory Education Secretary Gillian Shepherd. He asks for an off-the-cuff word association on the landmark 1944 Education Act and gets an instant, no-hesitation reply which stands up well to subsequent cross-examination. In a book that is not short of tables of statistics and indepth explanation and exploration of government policy these human yet telling observations add spice to the fare.

Peter Hennessy grew up in the fifties and admits a nostalgia for steam trains and the smell of woodsmoke from allotment bonfires. He has used his childhood memories, his first hand experience, his journalist’s cunning and the craft of a skilled historian to produce an excellent account of the early years of our postwar experience. 

AUSTERITY BRITAIN 1945 – 1951

by David Kynaston


After six years of war the population of Britain, anxious for circumstances to improve, had to endure hardship for a further decade; rationing for some products continuing well into the fifties. David Kynaston has homed in on this key aspect of immediate postwar life for the title of his new book ‘Austerity Britain’ - the first in a series of histories comprising a larger work titled ‘Towards a New Jerusalem’.

Hennessy’s book is a model of construction; a journalist marshalling diverse content with academic rigour. Facts and figures, attitudes and opinions, events and their outcomes are collated, ordered and presented with elan and enthusiasm. David Kynaston has taken a different approach; he has stood in front of the massive tide of data and welcomed the deluge as he opens the flood gates. Forsaking the dry burrowing through dusty archives, looking for telling minutes from forgotten meetings, Kynaston stands drenched to the bone in a tsunami of anecdotal firsthand accounts.

In contrast to the journalistic immediacy of the Hennessy ‘decade’ approach, Kynaston has chosen to examine one particular historical trend – the political concensus that prevailed from 1945 to 1979. The war experience convinced economists, town planners, politicians and not least the majority of the population, as witnessed by Labour’s landslide victory, that there was to be no return to interwar social inequality. Across the party divide it was generally agreed that private capital on its own had failed and a more centrally planned economy, as practised successfully during the second world war, and given a social conscience by the Beverage Report, was the way towards a more stable economy and a more just society. This concensus informed the policies of the Attlee, Churchill, and Macmillan administrations most noticeably, and was still in evidence until dramatically and aggressively thrown out by Thatcher’s first term in 1979.

Kynaston has not mined the same mother lode of primary data that Hennessy dug so productively – Government papers and the documented thoughts, words and deeds of the key dramatis personae of public life – but has instead used the first hand accounts of the everyman and everywoman. The submissions of the contributors to Mass Observation get so frequent an airing that the source is soon abbrieviated to M-O in Kynaston’s text. He has also raided the autobiographies of the postwar literati; Alan Bennett and Kenneth Tynan for accounts of VE day celebrations and Glenda Jackson recalling her 11+ exam; just three among hundreds quoted. The early inference is that the 75% of the population categorised as working class at war end were not able to articulate political desires in tune with the Parliamentary consensus beyond demanding a vague ‘change for the better’. The discrepency between government rhetoric and street level testimony is a recurrent theme for Kynaston.

These individual musings on the great events or the big ideas of the day are more than numerous but add little to our existing understanding. In contrast the experiences of returning from the forces that occurred within the privacy of the marital home reveal a fascinating negative dividend to victory. Adjusting to longterm separation was difficult enough but in addition many couples struggled with the return to the prewar domestic status quo. Many women had gone into wartime employment as well as taking responsibility for home and children and were not willing to abandon this autonomy on the husband’s return. Some of the most poignant testimony is from children who could not warm to or even recognise this stranger that re-entered their lives – their long absent father. In 1939 the number of divorces was 6,000 – eight years later the rate had increased tenfold and the total number for 1947 exceeded 60,000.

Kynaston has chosen to plough through his collection of personal testimonies in linear fashion, clocking off the years chapter by chapter. One year on from victory and shortages for clothes and food are continuing and in some cases worsening. This lack of improvement in basic living conditions created much resentment and on Kynaston’s evidence there was little hesitation in expressing it - by all sections of society. The introduction of bread rationing – something that had never happened during the war – was particularly unpopular. Kynaston’s methodolgy of relying principally on contemporary verbal testimony or personal diary entries highlights well the potential disparity between real hardship and the perception of it.

Public perceptions of hardship had every reason to escalate as 1947 then 1948 witnessed worsening experiences. The weekly bacon ration was cut to just 1oz and potatoes were rationed for the first time. A survey in this year reported that 53% of the British population wished to emigrate. The Government seemed unwilling to address this low morale – the restrictions of football matches and cinema showings seemed petty and ineffectual and certainly contributed to the austere atmosphere. The blackmarket and crime generally flourished in the environment of scarcity and resentment. The value of stolen goods in 1948 was four times the level of ten years earlier, adding to the sense of despair.

During the first half of the book Kynaston repeats his assertion that the visionary enthusiasm of those planning a postwar socialist utopia was not always shared by the population as a whole, or even by the working class – that sector singled out to most benefit from a more equitable society. Kynaston illustrates his point with genuine poignancy when contrasting opinions at the pithead and down the mine with the sentiments of the Labour politicians who had secured the nationalisation of Coal. While those ex-mining MPs went through the division lobby voting ‘aye’ with tears streaming down their faces and singing ‘The Red Flag’, the miners themselves effectivley shrugged their shoulders – it made no difference to them who owned the mine; they still had a filthy dangerous job to do and they did it.

This is Kynaston’s only point of analysis and he repeats it less often as he progresses into the second half of the book. The intial premise of analysing the political concensus that prevailed is not addressed. It is as though Kynaston has willingly succumbed to the tidal wave of subjective testimony. Swamped by the huge number of individual voices he is unable to channel the flow so he goes along for the ride. This broad and unstoppable river meanders through the six years until 1951 touching on the Korean War, the Cold War and the threat of nuclear war on one bank and depositing cultural ephemera, such as the universal popularity of radio and the emergence of TV, on the other.

This work was a manifest herculean task to assemble and at 600 pages it is a task to read as well. Kynaston’s approach lacks the academic rigour of the Hennessy book; the reader is invited to join him as he surfs this huge wave of anecdotal history but is given no direction nor critical examination of the source material. The frequency of referral to Mass Observation merits an indepth critique of this source at least. The immediate postwar years were formative for all of us, even those born decades later, and although this collection of testimony is important and fascinating it could have been doubly so if half the length.

Saturday, June 09, 2012

‘The Girl with the Millennium Laptop’ Steig Larsson


NORDIC NOIR ~ in print and on the screen

The Girl with the Millennium Laptop’

 Eva Gabrielsson

Crime writing has long been a favourite genre for film and TV to steal from; Poirot, Sherlock Holmes and Philip Marlowe led the way to be hotly pursued in more recent times by protagonists from the pens of Rankin and Grisham. The latest genre hero to implicate the screenwriters is the Scandinavian copper. Henning Mankell was lifted into the mainstream by Kenneth Branagh’s intense adaptions of the Wallender novels for BBC television. If Branagh’s portrayal is too manic depressive for your tastes then grab the Swedish TV versions on BBC4. Better still return to the source and read the books to watch the movie in your head.

Today the head of the Most Wanted crime writers’ list is another Scandinavian, Steig Larsson, creator of the brilliant, zany zeitgeist-riven Lizbeth Salmander. His heroine is a superb inversion of contemporary victimhood; a neo-anorexic, abused, mentally ill geek triumphs over evil with the courage, ingenuity and wit of an outlaw punk. Larsson introduced us first to the ‘Girl with the Dragon Tattoo’ – now a major movie – and followed up with ‘Girl who Played with Fire’ and ‘The Girl Who Kicked the Hornet’s Nest’. All three are available in paperback from your local independent bookshop.

The latest Larsson thriller features a one-time political journalist, a multi-million pound fortune, secrets embedded in a laptop, family politics and untimely death. The ex-journo, scourge of extreme fascist groups dies young, unaware of his latent legacy and mega wealth. The heroine holds the secret but wants justice, and those with the money want the laptop and its enigmatic contents.

But ‘The Girl with the Millennium Laptop’ is no novel. The author died without leaving a will before any of his existing trilogy were published. His estranged family has subsequently received the rewards of his 65 million copy worldwide sales, but not his companion of the previous 32 years Eva Gabrielsson. But she does have the manuscript for the fourth Millennium book on his old laptop, and cryptic notes outlining the plots of a further six novels. A courtroom drama worthy of John Grisham at his finest is on the cards and it can’t be long before the screenwriters work their alchemy and get their art to imitate life.

JB June 2012

Saturday, June 02, 2012

Banksy and the Jubilee


BANKSY ~ Public Artist Number One



That Grafitti offends is a truism – it is meant to offend. It is the conspicuous conscious leg-cock of a testosterone-induced drive to mark a territory. It defiles the established ownership of public space while simultaneously laying claim to it. Involuntary exposure to aesthetically ugly, verbally violent sub-porn is a violation of our right to feel safe when out of our homes in our own culture. As offensive as the grafitti is, the higher crime is the pseudo-sociological elevation of this pissing contest to a supposed art form.

Sociologists interpret crass wall scrawls as the 21st century equivalent of Lascaux cave art; grafitti artists as modern society’s naieve visual poets; part modern-primitives, part urban-shamen. The crude, rude renditions of body parts and the inarticulate inaccurately spelled expletives are allegedly the legitimate expressions of an alienated, dispossessed underclass. An attack on a wall is seen as a valid political act of sabotage by freedom-fighters, a nocturnal raid behind enemy lines, an action typical of a guerrilla army waging war against an overwhelmingly superior force. When in reality the poorly executed drawing of genitalia is an act of flashing by proxy. Not so much a terrorist as a tosser.

A Grauniad journo got into Private Eye’s Pseuds Corner claiming grafitti made him ‘feel optimistic about shared dreams and common ownership’. But then he wasn’t writing about any old vandal, he was commenting on the literati’s favourite adopted hoody, the ‘art terrorist’ known as Banksy. You have to hand it to him Banksy is a few strokes above your average teen tagger. It is a knowing post-modernist that installs a fake cave drawing in the British Museum. A drawing that depicts the cave dweller spearing a bison with one hand and pushing a shopping trolley with the other. Not only is this an attack on what constitutes artifact orthodoxy and a blast at contemporary consumerism, but it also references grafitti artists being latterday practioners of cave art.

And Banksy is back in the fray for the Diamond Jubilee. For the 'Silver' the Sex Pistols held the line for the two-fingers brigade, this time around it is Banksy with a twin-digit reposte – a stencil on a London wall depicting a sweat-shop kid churning out Union Jack bunting. A class act. Is it offensive? .. I hope so.


Mixed Metaphor Man June 2012
MMM on the WWW

A blog blast form MIXED METAPHOR MAN
By day mild-mannered and middle-aged, befuddled and bespectacled – by night a bludgeoning blogger.