tag:blogger.com,1999:blog-4077978147079833112024-03-12T16:32:07.727-07:00Richard T KellyRichard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.comBlogger638125tag:blogger.com,1999:blog-407797814707983311.post-67004151694534831742020-12-04T05:41:00.002-08:002020-12-04T05:41:38.574-08:00The Snow Ball by Brigid Brophy (Faber)<p> <br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-HiYratKaMKs/X8o76Dsg98I/AAAAAAAACLk/5EmrzNoJyWAt_r_R0ECvRJpMr4Okdya0ACLcBGAsYHQ/s614/9780571362875.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="614" data-original-width="400" height="320" src="https://1.bp.blogspot.com/-HiYratKaMKs/X8o76Dsg98I/AAAAAAAACLk/5EmrzNoJyWAt_r_R0ECvRJpMr4Okdya0ACLcBGAsYHQ/s320/9780571362875.jpg" /></a></div>No appreciation of Brigid Brophy’s fiction could be complete without reference to her passionate regard for Mozart and how she placed him in the all-time pantheon of creative artists. (This was right at the top, <i>‘on the very pinnacle of Parnassus’ </i>alongside Shakespeare, as she made clear in her 1964 study <i>Mozart the Dramatist</i>.) <br /><br />Mozart is a presiding spirit through all of Brophy’s novels, but arguably the one that is most thoroughly infused is <i>The Snow Ball</i> (1964), a work that consummately melds Brophy’s deep interests in myth, opera, sexuality and psychoanalysis. Its heroine Anna admits freely to a troika of obsessions: ‘Mozart, sex, and death.’ The Freudian opposites of eros and thanatos, which Brophy considered in her non-fictional <i>Black Ship to Hell</i> (1962), are also shadowy guests in the wings of <i>The Snow Ball</i>.<br /><br />The novel takes for an epigraph Brophy’s own note from <i>Mozart the Dramatist</i> concerning the age-old critical interest in the question of ‘whether, when the opera opens, Don Giovanni has just seduced or has just failed to seduce Donna Anna.’ In <i>The Snow Ball</i> ‘Did she or didn’t she?’ is turned around to ‘Will she or won’t she?’ as Brophy, with a dextrous touch and allusive skill, brings Mozart’s age into our own. <br /><br />The setting is ideal for the purpose: an eighteenth-century-themed costume ball on New Year’s Eve, in a London residence so grand as to house a ballroom, home to wealthy Tom and his wife, four-times-married Anne. Anna attends alone, dressed as Donna Anna, unhappily preoccupied by her middle years and what they mean for her good looks, as well as by a general distaste for the occasion. <i>(‘If one wants to forget one’s age</i>’, she will lament, ‘<i>new year’s eve is the wrong eve to start</i>.’) <br /><br />Like Brigid Brophy, Anna has a highly developed aesthetic sense, and to her keen eye no-one at this ball looks quite right: too many cut-price Casanovas and third-rate Marie Antoinettes. Anna is of the view that people come to fancy-dress balls as their daydreams, and she is pained by the paucity of imagination on display. Yet the judgement she passes on others could be one from which she is willing to exempt herself. <br /><br />At least one guest at the ball is wearing a mask; and this element of the bal masque makes the vital bridge for the novel into a Mozartian world – the masquerade being, as critic Terry Castle has put it, <i>‘part of the eighteenth century of the imagination, which in the end is the only one we have.’</i> A masked ball is usually a subversive occasion, one where feckless acts may suddenly be permitted, and the world turned upside down if only for a night – including the balance of power between men and women, as it is affected by sexual attraction and consenting sexual intercourse. <br /><br />So, when at midnight Anna meets a masked Don who kisses her on the mouth – ‘not socially, but on the lips, gently and erotically, then with a voluptuous fluttering, and at last with a violent and passionate exploration’ – she is moved to wonder if this mystery man might share her personal obsessions, and whether a closer union is meant to be. <br /><br />First, though, as if feeling eighteenth-century mores pressing upon her, Anna flees from her suitor, seeking refuge in the sumptuous boudoir of her friend and hostess Anne. It is white ‘like peppermint creams’, done in a style Anna thinks of as <i>‘tart’s rococo’.</i> There she and Anne share affectionate, barbed gossip and confidences – the reader conscious all the while of a current of erotic tension that will drive the novel toward its finale. <p></p><p>Anna’s dilemma, though the core of <i>The Snow Ball</i>, is complemented by side-plots. Her kiss with the Don has been observed by Ruth Blumenbaum, teenage daughter of another old friend: Ruth is a precocious diarist who has come to the ball dressed as Cherubino, squired by her disagreeable beau Edward (Casanova). The fitful struggle toward intimacy of these two youths makes for a counter-theme in the novel, as does the slightly unsightly but undeniably contented marriage of Anne and Tom (or ‘Tom-Tom’ and ‘Tum-Tum’, as they call one another in confidence.) <br /><br />In these parallel <i>amours</i> Brophy makes fine use of her gift for describing human carnality. One evocation, from the female perspective, of what the French call <i>‘la petite mort’</i> was thought rather scandalous by readers in 1964, perhaps chiefly because Brophy was a woman and wrote so superbly. And yet Brophy never lets us forget that, however well fitted the partners in this dance, its aftermath can lead nonetheless to thoughts of an entirely different nature. Or to paraphrase Plautus – whom Brophy takes as her other epigraph – even in the midst of the most diverting activities Death may creep up upon us. <br /><br />This is another tension that persists to the last page of <i>The Snow Ball</i>, where the curtain drops on what is arguably Brigid Brophy's most brilliant fictional performance.</p>Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-71222737050843796662020-02-09T13:38:00.003-08:002020-02-09T13:38:48.447-08:00George Steiner, 1929-2020
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<tr><td class="tr-caption" style="text-align: center;"><span class="PbnGhe oJeWuf fb0g6"><span class="oF7ijf"> </span><span>© National Portrait Gallery, London</span></span></td></tr>
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1. <b>In my teens George Steiner was on the telly a fair bit,</b>
talking about really great writers and themes in history; and I mean scheduled
shows on BBC2 and Channel 4 (who had him as a pundit when they broadcast live
coverage of the bicentennial celebrations of the French Revolution in 1989.)
Having Steiner talk at one through the television made a big impression on a
boy who hadn’t grown up with many significant literary works lying around the
house.</div>
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2. It was on one Channel 4 book-show (about the life and work
of Kafka) where Steiner proposed that <b>Kafka was the only great author (i.e.
besting even Dante or Shakespeare) who could be thought to ‘have made his own a
letter of the alphabet’ – </b>which is such a sharp and charming apercu.</div>
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3. I will also never forget hearing Steiner describe <b>the true
function of the critic as that of a postman</b>: one who knows precisely where to
deliver the missives of men & women of letters. (As I recall, he attributes
this image to Pushkin?)</div>
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4. Understandably, a great many literary critics rate
themselves in the mirror as major wordsmiths, and Steiner no doubt had a sound
ego; but he also served a warning here:<i> ‘Cruelly, perhaps’, </i>he wrote in <i>Real
Presences</i> (1989), ‘<i>it does seem to be the case that aesthetic criticism is
worth having only, or principally, where it is of <b>a mastery of answering form
comparable to its object</b>.’</i></div>
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5. Subsequent to hearing the news of Steiner’s death last week
I saw a piece from 1996 in Prospect, by James Wood, heavily and rather showily
(i.e. ‘hatchet’-like) criticising Steiner’s rigour and high-flown manner, and
the windiness of certain propositions, especially Steiner’s insistence on the
aspiration to transcendence in great art. Wood thought a writer couldn’t
seriously argue this without religious belief of their own, vested in a
specific form of faith. <b><i>'All great writing,' </i>Steiner insisted, <i>'springs from </i>le
dur desir de durer</b><i><b>,</b> the harsh contrivance of spirit against death, the hope to
overreach time by force of creation.' </i>Personally I think the hope is sufficient
– the belief that the human spirit points us to the possibility, still, of
something more than our mortal consciousness. I don’t believe, but most of my
favourite art is religious art of a sort.</div>
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6. Wood and others mark Steiner down as something of a
conservative figure from the 1960s, a button-down among longhairs and so forth.
Maybe accurate when viewed from a generational lens, but Steiner certainly
wasn’t shocked by or immune to strains of new and daring thought – he just took
a view on them as phenomena. <b>His two 1960s-era essays on sexual explicitness in
fiction, 'Night Words' and 'Eros and Idiom</b>', I would happily teach today, and I
don’t feel the same about a lot of celebrated and f*ck-laden fictions of that
era and subsequent.</div>
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7. Steiner was quite modest about the few fictions he
published, but <i>The Portage to San Christobal of A.H. </i>is a remarkable
dramatic-philosophical piece, potent enough for Christopher Hampton to make a
play out of it.</div>
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8. Like many writers who teach writing, I find it useful to
refer to the published and unexpurgated versions of the stories of Raymond
Carver, before and after Gordon Lish got to them. They’re a good test of the
worth of the sort of literary minimalism which has been critically valorised
for all the years that I’ve been reading and writing. Minimalism has its pros
and cons, and Steiner was very good on the cons, remarking a few years back
that writing <i>"seems to me too often, in this country, at the moment, a
minimalist art. Very, very non-risk-taking. Very tight – often admirably,
technically. But finally one thinks of the nasty taunt of Roy Campbell, the
South African rightwing poet: <b>I see your bridle, where's the bloody
horse?"</b></i></div>
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9. Steiner had a bit of a snub from Cambridge in his early academic
career, and believed, if I have it right, that his foreignness made him a bit
of a figure of suspicion in the circles where he’d hoped to practise. <b>He
certainly fired some bullets in the direction of Cambridge’s circular culture</b>
when in 1980 he wrote of Anthony Blunt as ‘The Cleric of Treason.’</div>
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10. I was only in the same room as Steiner once, 1998, I think,
when the <i>London Review of Books</i> and <i>New Left Review</i> jointly hosted a sort of
symposium on Israel/Palestine given by Edward Said. Steiner made some comments from
the floor, more in sorrow than anger over things, noting how long he and Said
had been writing in the field. Afterward there were drinks in the low-ceiling basement bar of a Bloomsbury hostelry, an unseemly buy-your-own crush with
crazy-loud music, and I remember watching Steiner pass alone amid the throng, <i>en
route </i>– or so I was hoping, for his sake – to the exit. As a sodality it was
hopeless; but still <b>he wore the small, curious smile of this </b>that I’d got used
to seeing on the telly.</div>
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<![endif]-->Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-49507568319036681342019-10-30T03:45:00.000-07:002019-10-30T03:50:10.418-07:00Above Average at Games: Wodehouse on Sport<!--[if gte mso 9]><xml>
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<a href="https://1.bp.blogspot.com/-C7DbXZq3RrQ/Xblo9aD5S3I/AAAAAAAACHs/hfSDK8wEuMglmb0krxLiEAzdcm8XruFXACLcBGAsYHQ/s1600/games.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="677" data-original-width="441" height="320" src="https://1.bp.blogspot.com/-C7DbXZq3RrQ/Xblo9aD5S3I/AAAAAAAACHs/hfSDK8wEuMglmb0krxLiEAzdcm8XruFXACLcBGAsYHQ/s320/games.jpg" width="207" /></a></div>
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In stores this week is <a href="https://www.penguin.co.uk/books/111/1118675/above-average-at-games/9781786332004.html" target="_blank">the second anthology of PG Wodehouse</a>
that I’ve had the tremendous fortune to edit for the Hutchinson imprint. <a href="https://www.penguin.co.uk/books/111/1112549/highballs-for-breakfast/9781787462045.html" target="_blank">The first, in 2016, was on booze</a>; this one concerns sport. No-one can be expected
to pursue happiness in moderation; and when a masterful writer such as
Wodehouse turns his eye upon such life-enhancing pursuits as these, then the
sum of human happiness grows.</div>
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<b>Wodehouse was certainly a master</b> - one can argue about the
breadth of his range, but not about the perfection of his pitch, founded as it
was on plot-building and sentence-making of surpassing elegance. <b>Sports were among
his true passions in life</b>, and he wrote stories about them as well as anyone
has, before or since. So, I'd concede, this new volume is for the sports fans above all, if not exclusively.</div>
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2019 has, of course, been a remarkably dramatic year in
sport. Anyone watching the cricket and rugby World Cups, say, or <a href="https://www.youtube.com/watch?v=pE-aOBGN8UM" target="_blank">Tiger Woods at the Masters</a>, or <a href="https://www.youtube.com/watch?v=-gKUKMQKTxc" target="_blank">Naomi Osaka versus Coco Gauff at the US Open</a>, must surely have
felt at times that <b>sporting contests at the pinnacle of excellence contain
their very own artistic perfection</b>, which a storyteller can only envy and
labour to imitate. Wodehouse, though, is one of those rare writers who makes
sport on the page nearly as pleasing as sport on the pitch.</div>
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I’ve titled my anthology with a nod to Wodehouse’s biographer
Frances Donaldson, who contended that <i><b>‘[n]o boy who is good at games ever has a
bad time at school,’</b></i> and that Wodehouse felt it important to have been <i><b>‘above
average at games,’</b></i> not simply because of the peer approval that followed but
because, in his later writing life, he could convey both a participant’s
pleasure in and a technical understanding of the game in question. </div>
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<i>Above Average</i> is, then, a selective tour through the
sporting side of Wodehouse’s oeuvre, beginning with his early school sports
journalism (where we find him limbering up and trying out his muscles as a
humorist, working towards <b>‘the voice’ that will see him durably through a
70-year writing career</b>.) It drives onward to extended extracts from certain
novels, and noteworthy short stories in their entirety. </div>
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Prior to this delightful assignment I had a decently rounded
sense of how good Wodehouse was on cricket and golf. I’d less of an
appreciation for <b>how well he’d done rugby, athletics, boxing</b>. In the early
school novel <i>The Pothunters</i>, for instance, there is a terrific account of a
mile-race that puts the reader right in the thick of the tension and adrenalin
of timing a kick to the finish against an adversary hard at one’s shoulder (<i>‘Everything
seemed black to him, a black, surging mist, and in its centre a thin white
line, the tape…’</i>)</div>
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As to the boxing: <i>The White Feather</i> – a portrait of an
artist as a young and not wholly willing pugilist – is consummate storytelling wherein
a boy goes to learn to fight for the good of his mettle and is <b>surprised to discover
the immense skill in the thing</b>. (Wodehouse boxed for the school at Dulwich
College though he later admitted to an interviewer that he was better on
stamina than technique: <i>‘After three rounds I was always willing and anxious to
go on and could never understand why the decision went against me, as I
couldn’t remember the other fellow hitting me at all. This although I was
streaming with blood…’</i>)</div>
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Wodehouse’s principal cricket writing is the sequence of
fictions from 1907 to 1910 starring the boy-batsman-prodigy Mike Jackson. Now,
<b>batting has always seemed to me a very high-order accomplishment, whatever
number you come in at</b>. It’s a lot to do with the demands on concentration, and
the high odds that your day will end very prematurely and dismayingly due to a
single misjudgement or twist of fortune. It would be annoying, then, if Wodehouse’s
Mike were never prey to such anomalies.</div>
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Mike is seen to be exceptionally gifted but Wodehouse often shows
his talents being first underrated. He was fully aware of the storytelling conventions
here, too, as described in <i style="mso-bidi-font-style: normal;">Mike and
Psmith</i>: <i>‘In stories of the ‘Not Really a Duffer’ type, where the nervous
new boy, who has been found crying in the boot-room over the photograph of his
sister, contrives to get an innings in a game, nobody suspects that he is
really a prodigy till he hits the Bully's first ball out of the ground for six.’
</i></div>
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That set-up is indeed as old as Metheuselah, but Wodehouse
doesn’t play it like so: there’s nothing nervy about Mike, indeed he exudes
self-assurance whenever he attains the crease. And in asserting the accuracy of
this character-type Wodehouse hits the middle-stump: <i>‘An entirely modest person
seldom makes a good batsman. Batting is one of those things which demand first
and foremost a thorough belief in oneself. It need not be aggressive, but it
must be there.’</i></div>
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Still, it’s fundamentally boring if the hero of a tale flies
through every test. Just when the reader might think Mike never fails with the
bat, Wodehouse has him out for a duck – because <b>even Don Bradman had days like
that</b>. Wodehouse also suggests that the level of Mike’s investment in the game makes
him at times a little one-note and sharp-tongued to anyone who interferes with
his practice of the art: to that extent, he’s maybe too much of a sportsman,
and it might be why Wodehouse began to favour Mike’s friend Psmith for more
stories.</div>
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The obsessiveness that we bring to playing games has its
comical side – the mono-browed pursuit of victory, of the personal best, approximate
at times to the larger follies of humankind. The game of golf is especially suited
to such comedy: is any sport more thoroughly afflicted by miniscule adjustments
to complex rituals, by coaches and expensive quack-remedies? (Thus did Norman Mailer
write of <i>‘monumentally boring golfers who work for years to improve their swing
and never stop talking about it.</i>')</div>
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Wodehouse, who loved the game, also knew this stuff was ripe
for mockery. His golf stories have no giant bestriding the links, analogous to
Mike – rather, they tend, as Wodehouse usually didn’t, toward men-and-women
stuff, <b>‘love interest’, and situations of romantic embarrassment</b> badly in need
of a solution. John Updike, a big aficionado of these stories, wrote of <i>‘mock-epic
Wodehousian matches, often played for the hand of a comely girl.’</i> In at least
one story the girl wants no part of the outcome. But more commonly golf in
Wodehouse proves to be a means for lovers to unite and tee off together
forever.</div>
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Wodehouse remains top-drawer reading pleasure, even for those hold-outs historically put off by books about people who have butlers. I loved putting this anthology together and I hope readers, too, will get a big kick out of its sporting line-up - a programme near as packed as <i>Grandstand</i> or <i>World of Sport</i> back in their day...</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-45346932498123092672019-03-01T03:12:00.000-08:002019-03-01T03:12:50.730-08:00Talking Politics: Best Political Novels<!--[if gte mso 9]><xml>
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<a href="https://4.bp.blogspot.com/-E13bHh8T2B8/XHkTF47xqcI/AAAAAAAACGI/PBIj44NB5L0yTWfj9IBEgqZY8E5ektE1wCLcBGAs/s1600/th.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="300" data-original-width="300" src="https://4.bp.blogspot.com/-E13bHh8T2B8/XHkTF47xqcI/AAAAAAAACGI/PBIj44NB5L0yTWfj9IBEgqZY8E5ektE1wCLcBGAs/s1600/th.jpg" /></a></div>
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Recently I sat down in Cambridge for the <b>Talking Politics
podcast </b>with host David Runciman and fellow guest Kasia Boddy, and it was as
grand a conversation I’ve had in years - <a href="https://www.talkingpoliticspodcast.com/blog/2019/146-best-political-novels" target="_blank">now online here</a>. Being a long-time admirer of the podcast I
felt much as thrilled to be part of it as I guess pop groups used to feel about
getting asked onto <i>Top of the Pops</i>.</div>
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Our subject was <b>Political Fiction</b>, and that is dear to me,
of course. I got to talk about the making of <i>Crusaders</i> and <i>The Knives</i>, and a
host of memories returned in the process. Both are political novels, to be
sure. </div>
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<i>Crusaders</i> got its title from Harold Wilson’s famous and incorrect
assertion that <b>the Labour Party is a moral crusade or nothing</b>, and it addresses
the ideas of Christian Socialism and Methodism-over-Marx as elements of Labour thinking and history. Tony Blair appears in it, and the central character, Reverend John Gore, is, if you squint, maybe an image of what Blair might have become if he'd gone into the Church instead of politics.</div>
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<i>The
Knives</i> is more expressly about the practice of politics – how make policy and
law about identity cards or domestic violence, say, or why sign a police surveillance
warrant – but also, in its conflicts between characters: about <b>‘politics’ as a
bunch of things in which people believe</b>, and which influence their personal
behaviour e.g. my fictional ex-army Home Secretary Blaylock and his human
rights QC ex-wife.</div>
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In terms of other political novels I love, it wasn’t the
right place but I would have liked to put in one more word for <i>After the
Banquet</i> by Yukio Mishima, which drew so effectively upon real Japanese politics
that Mishima was hit with a lawsuit. Mishima’s alarming political postures in
life tend to overshadow the intelligence of his fictions; and in <i>After the
Banquet</i> he used a brilliant device – the female proprietor of a restaurant
popular with senior government officials – as a means to enter <b>‘the whirlpool
of politics.’</b></div>
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The ‘timeliness’ or otherwise of fiction in addressing our
times is always a slippery business. <i>Crusaders</i> was much concerned with
Thatcherism and New Labour, two ideas that, judging by the conditions of Conservative
and Labour parties in 2019, feel like they have<b> moss growing over them in some
tomb</b>. With <i>The Knives</i>, which I finished in early 2016, I still think a lot
about the scene in the novel where Blaylock goes to Brussels and ponders the
whole game as a fairly thoroughgoing Eurosceptic who, in the ‘real world’,
would nonetheless certainly have voted Remain.</div>
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<b>Is our current moment, then, good or bad for political
fiction? </b>It had better hang on a bit yet: I have another political novel in the
works. Spy writers of a certain age clearly miss the Cold War era, unlike most
of the rest of us. Cultural veterans of the 1980s might well remember how
useful Thatcherism proved to their store of ideas and convictions. In 1939
Brecht pronounced that it was <b>‘a bad time for poetry.’ </b>It certainly was, as
John Willett puts it, ‘a bad time for humanity.’ But German literature had just
gone through an extraordinary efflorescence, and that continued, for Brecht and
other contemporaries. Whether or not poetry makes anything big happen, the
tragedies of our times very obviously bring forth great writings that survive
and sustain us.</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-84045209422405347722018-12-03T03:42:00.002-08:002018-12-03T03:42:20.793-08:00Critical Quarterly: Sherlock Holmes Redux<!--[if gte mso 9]><xml>
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<a href="https://2.bp.blogspot.com/-Q2_nC7jxrn0/XAUULtbgFhI/AAAAAAAACFk/p0Pg0VgrnXU5RsBH-i0UCIHtgsiaG1pQgCLcBGAs/s1600/criq.v60.3.cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="612" data-original-width="391" height="320" src="https://2.bp.blogspot.com/-Q2_nC7jxrn0/XAUULtbgFhI/AAAAAAAACFk/p0Pg0VgrnXU5RsBH-i0UCIHtgsiaG1pQgCLcBGAs/s320/criq.v60.3.cover.jpg" width="204" /></a></div>
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<a href="https://onlinelibrary.wiley.com/journal/14678705" target="_blank"><i>Critical Quarterly</i></a> is a fine literary journal founded in the
late 1950s by C.B. (Brian) Cox and A.E. (Tony) Dyson. Cox – a scholar and poet who
was soon to become a leading figure in the national debate about education – was
an avowed believer in <b>'the moral importance of literature,'</b> with a particular love
of poetry and a passion for ensuring that good contemporary writing had its day
n the sun, rather than suffering in the shade of the Great Tradition. </div>
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The brilliant <b>Colin MacCabe</b> became <i>CQ</i>’s chief editor in
1990; and I’ve had the privilege of seeing my work in the journal’s pages since
the mid-1990s. <b>Matthew Taunton</b>, Senior Lecturer at UEA, is now <i>CQ</i>’s deputy
editor, and he and I worked together very happily as co-editors on the journal’s
latest number, <b><i>Sherlock Holmes Redux</i>: a revisiting of Conan Doyle’s deathless
canon and some of the many intriguing variations still being played within it.</b></div>
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Matthew took charge of a number of <b>critical commissions</b>, new
writings on Doyle’s Sherlock, and those fruits are as follows:</div>
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<i>- Daily bread: food and drink in the Holmes canon</i> by Simon J.
James </div>
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<i>- Sherlock Holmes and risk</i> by James Purdon </div>
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<i>- Holmes the narrator: ‘Here it is that I miss my Watson’</i> by Lauren
Owen </div>
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<i>- Fair exchange?: Between the afterlives of Holmes and Raffles</i>
by Matthew Ingleby </div>
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<i>- Escaping the Strand: the paratextual Sherlock Holmes</i> by Katharine
Brombley </div>
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My side of affairs was a sequence of <b>interviews with
creative individuals</b> who have produced adaptations of Sherlock designed for
contemporary audiences; and I threw in an essay of my own about the strange
case of Sherlock and <b>his famous contemporary Dr Freud of Bergasse 19</b>:</div>
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<i><span style="mso-spacerun: yes;"> </span>- A criminal and a
crime‐fighter’: the Sherlockian Freud and the Freudian Holmes</i> by Richard T.
Kelly </div>
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<i>- ‘Playing in the sandpit of Sherlock Holmes’: an interview
with Jonathan Barnes</i> </div>
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<i>- ‘Near to the hem of his garment’: an interview with Sarah
Perry</i> </div>
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<i>- ‘Was it better to slap him or kiss him?’: an interview with
Louise Brealey</i> </div>
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I recommend the whole package unreservedly to anyone with <b>an interest in Holmes, the crime-detective genre, 19th-century literature more generally, and the crafty creative business of adaptation</b>. On that score I also recommend <a href="https://www.bigfinish.com/ranges/released/sherlock-holmes" target="_blank">Jonathan Barnes' raft of new Sherlock audio adventures for Big Finish</a>; Sarah Perry's new Holmes story ‘The Problem of the Kentish Ghost’, written
for Sophie Hannah’s compendium <a href="https://www.amazon.co.uk/Deadlier-Crime-Stories-Written-Women/dp/178497546X" target="_blank"><i>Deadlier: 100 of the Best Crime Stories Written by Women</i></a>; and, of course, Louise Brealey’s performances as the intriguingly
non-canonical Molly Hooper in <a href="https://www.bbc.co.uk/programmes/b018ttws/episodes/guide" target="_blank">the BBC series <i>Sherlock</i></a>. Louise is also our
edition’s cover star, and living proof of <b>the novel transformations that still exist to be wrought upon the great consulting detective. </b></div>
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-78153230735372053032018-11-30T10:30:00.001-08:002018-11-30T10:30:19.393-08:00Bernardo Bertolucci 1941-2018: a phantastic guy<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>Name a
filmmaker who maybe, maybe, spent a shade too long in psychoanalysis; Woody
Allen’s name might spring to mind. But it was true, by his own admission, of
Bernardo Bertolucci, who famously greeted the winning of a barrel-load of
Oscars with the quip that <b>Hollywood had become, for him, ‘the big nipple.’ </b>He
couldn’t stop himself.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>That same
year, 1988, John Boorman had done the rounds of Hollywood functions because he,
too, was promoting a movie with multiple nominations; and in his diaries
Boorman recorded a wonderful exchange with his fellow auteur. He asked Bertolucci
quite why he’d done so much time on the analyst’s couch, and the reply was, as
I recall: <b>‘Because I kept on making beautiful movies and nobody went to see
them.’</b></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>The thing
is, you can see Bertolucci making that joke, in all candour, with the delighting,
semi-rueful smile that travelled halfway up the side of his face.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>But, of
course, not nearly so neglected! Bertolucci was, is, will be famous for <i>Last
Tango in Paris </i>and <i>The Last Emperor</i>. <b><i>The Conformist</i> is widely considered his
masterpiece</b>, one of the all-time great movies. <i>Before the Revolution</i> and <i>The
Spider’s Stratagem</i> are hugely admired. Much else in his body of work is
extraordinary and brilliant. That’s plenty, no?</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>It’s <i>The
Conformist</i> for me, too. It’s about politics, about Italy and fascism; but it’s
about cinema, too – helplessly, ravishingly. Bertolucci would own up, candidly,
to a case of <b>‘the disease of cinephilia.’ </b>In this movie, he made plain, you
could see Ophuls, Sternberg, Welles. But you saw Godard, too – the father he
offended by taking Paramount’s money to distribute the film. You saw Bresson: Bertolucci,
who venerated the great man, cast Dominique Sanda fresh from <i>Une Femme Douce
</i>because, he quipped, he wanted to steal one of Bresson’s virgins, put her in a
beautiful dress and take her to a party. </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>Bertolucci
was always honourable towards his great collaborators, too, as on <i>The
Conformist</i>: the visual powerhouses Vittorio Storaro and Nando Scarfiotti, and Franco
‘Kim’ Arcalli, who helped him reconstruct <i>The Conformist </i>in the cutting-room (<b>‘an
ex-Partisan, fantastic guy!</b>’ as Bertolucci would describe him to years later.) </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Bertolucci’s cinema has given me so many more joys: that
apartment in <i>Last Tango in Paris</i>, with its strange Christo-like shroud; the
umbilical links in <i>Luna</i>, and the pop-culture joys of Marilyn Monroe in <i>Niagara</i> and
Matthew Barry’s café-jukebox dancing; the toast in <i>The Last Emperor</i> to ‘The Lord
of Ten Thousand Years!’; <b><i>The Sheltering Sky</i>’s heartbreaking scene between
Malkovich and Winger</b> on the rocky plateau, that film’s heartbreaking score, its
exquisite ending with Paul Bowles…</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Bertolucci’s ambitions were so grand and romantic, <b>his
conception of sex and politics so heady</b>, that you’d be hard-hearted not to see
the life-enhancing charm of them, even if he sometimes bit off more than he
could chew. If I remember it correct he wanted <i>Novecento</i> to be
co-founded by Hollywood and Mosfilm, with US and Soviet actors in the two
leads, as a means of engineering a little creative <i>détente.</i> That plan was doomed,
a shade too schematic: as is any cinema, in my view, that tries to score points
based on theories, that wants to editorialise rather than dramatise. Some of
Bertolucci’s movies aren’t as dramatic as they ought to be; but they’re always
ravishing.<span> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span>When I
was a research student at the British Film Institute in the mid-1990s I wrote a
thesis on Nando Scarfiotti and his work, to which <b>Bertolucci, with great grace, contributed
in loving memory of his friend and colleague</b>. </span>I met him on the Tuscan
location of <i>Stealing Beauty</i>, where he was commanding matters with the charisma I expected. Darius Khondji was the DP – no mean substitute for Storaro, who
wasn't available, as he sometimes hadn't been ever since he was, in Bertolucci’s impish words,
‘unfaithful to him with Coppola’ for <i>Apocalypse Now</i>. </span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">I will never ever forget
that day, that conversation, all I saw on Bertolucci’s show. I have one or two friends who are filmmakers, and I like to
address them as ‘<i>maestro</i>,’ jocularly, but in respect, too – because it’s very
hard to make a good film. <b>Bertolucci made some great ones</b>, and when I watched
him make cinema I was so struck by the easy way in which he was addressed repeatedly
by his collaborators as ‘<i>maestro</i>.’ He certainly was. <span> </span><i>Buona notte e buona fortuna, maestro.</i></span></span></div>
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-26923756153721779692018-11-25T04:50:00.001-08:002018-11-26T06:52:11.254-08:00Nicolas Roeg 1928-2018: all of a time<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-wEOHprEY5oQ/W_qaL1C-_bI/AAAAAAAACFM/gJlBy1TeJjQMDglxxJMxLn8EK533tweOgCLcBGAs/s1600/nicolas-roeg.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="524" data-original-width="357" height="320" src="https://3.bp.blogspot.com/-wEOHprEY5oQ/W_qaL1C-_bI/AAAAAAAACFM/gJlBy1TeJjQMDglxxJMxLn8EK533tweOgCLcBGAs/s320/nicolas-roeg.jpg" width="218" /></a></div>
<div class="MsoNormal">
<b>‘When I was 12 years old,’ Nicolas Roeg said once - or maybe more than once? - ‘my
father said the most extraordinary thing to me. <i>“The day you’re born is your
only chance to really have tomorrow, because by the day after you’ve got
yesterday.”</i> At the time it completely confused me, but gradually it began to
make a little sense…’</b> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Saying this to my tape-recorder, as it happened, Nic looked rather wry: however sad the
sentiment, he surely knew that it constituted a little statement on the major
theme of his art. For if cinema is – as art schools define it – a <i>‘time-based
medium’,</i> then he ranked high among those filmmakers who have articulated and
poeticized our sense that time is really in the eye of the beholder. In Nic’s work
the past, present and future seem to co-exist in the same fleeting instant.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Nic (who died yesterday, aged 90) was – is – a filmmaker’s
filmmaker, in the sense that you’re better to measure his brilliance by the influence
he exerted than on his box-office takings. He was so original and questing in
his work that directors were bound to follow him, and to pay him that great tribute
(<i style="mso-bidi-font-style: normal;">hommage</i>!) of stealing from his store
of magic.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s analogous to how the best writing on Hitchcock is
Hitchcock’s famous set of dialogues with Truffaut, and the best critical
response to his <i style="mso-bidi-font-style: normal;">Vertigo</i> is the number
of loving emulations of that movie by other filmmakers, rather than the stacks
of academic monographs rehashing ‘reception theory.’ Nic’s personal testament, <i style="mso-bidi-font-style: normal;">The World is Ever Changing</i>, published by
Walter Donohue at Faber in 2013, is the best thing you can read about him.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It might have been better for Nic’s career if all such debts
had been repaid him in cash, but he always seemed – how should we say? –
philosophical about it. The first time I talked to him at any length he remembered an early pre-release screening of <i style="mso-bidi-font-style: normal;">The Man
Who Fell to Earth</i> after which his producer Michael Deeley enthused to him
that, however the film might fare commercially, his peers would be ripping him
off in no time.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I remember the day of that discussion really well. Finding his address in Notting
Hill, just a few streets away from Powis Square. Climbing the stairs to his
study, passing the framed Hockney Polaroid-collage of Theresa Russell as
Marilyn Monroe, custom-made for <i style="mso-bidi-font-style: normal;">Insignificance</i>.
The study itself, dressed from corner to corner with piles of books and objets d’art. I
remember every encounter I count myself lucky to have had with a man who I basically hero-worshipped
from boyhood.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first being-in-the-same-room magic - round about now, only 33 years ago - involved my
getting his autograph after a screening of <i>Insignificance</i> and a Q&A
at the Queen's Film Theatre, Belfast. Theresa Russell was at his side; and had
Jesus Christ chosen Belfast that night as the site of his Second Coming I really couldn't have been more impressed</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In March 2009 BAFTA hosted a tribute evening to Nic as a
means of bestowing their Fellowship upon him, and the banner they chose was '<i>The
Magician With A Movie Camera.</i>'<a href="http://www.bafta.org/heritage/features/a-tribute-to-nicolas-roeg" target="_blank"> BAFTA has a reel of highlights here. </a>Danny Boyle
and Duncan Kenworthy curated the evening and enlisted a great array of
speakers, which I, by an immense stroke of good luck, was invited to join - to speak, I thought, on behalf of the fans in the stalls. So it was a
very special and memorable evening - for the honouree, I’m sure, and for all
attendees, I hope. Certainly for me. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Nic was – is – as brilliant a filmmaker as Britain has ever
produced, the golden era of his work (roughly the 20 years from 1966-1985) standing
comparison to the best of <i>anybody</i> <i style="mso-bidi-font-style: normal;">else</i>'s
ever. It’s true that many fans rated the later work less glowingly, and I think
that disappointed Nic, as it would any artist. <i>‘It began to annoy Welles,’</i> he
told me. <i>‘</i><span style="mso-bidi-font-style: normal;">The Magnificent Ambersons</span><i>
is a huge movie, but all people would say of it was that it wasn’t </i><span style="mso-bidi-font-style: normal;">Citizen Kane</span><i>.’</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyone who ever 'interviewed' Nic had a similar sort of experience: you
didn’t quiz him, you just listened, and tried to follow his associative leaps.
John Huston, very different but also a bit of a magician, seemed to crop up in his conversation a fair bit; Nic especially
liked to use Huston’s analogy of making movies as:</div>
<blockquote class="tr_bq">
<div class="MsoNormal">
<i>‘rather like being the mayor of a mining town – everybody’s
working long days to the same end, there’s fun to be had. Then the mine closes,
the population leaves, the town is deserted and the director is the last person
left. Huston said, ‘Taken all in all it’s a rather melancholy affair.’ It is a
loss, curiously, the end of a film – because your life has been in it. Your
personal life is put aside. It’s a cliché but the films are like children. I
don’t have a favourite, they’re all of a time and that time has gone by.’</i></div>
</blockquote>
<div class="MsoNormal">
He was quite enthralled by the i-Phone and ever-evolving
possibilities of image capture, while being truly perplexed by the extent to
which people persisted in putting movies together by the same old ways. <i>‘The
weird thing,’ </i>I recall him musing, <i>‘is that one’s grandchildren will say, ‘I
don’t get it, what is a ‘film’? Why was it ever called ‘film’?’ You can start
explaining about celluloid and light and they’ll say, ‘Oh…’’</i> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Already I’ve had such
conversations with my children – time's like that – but Nic’s films
are going to endure. The pictures he made were just so strong and vivid and
irreducibly part of him, right up to the point where they crossed over and
became part of us.</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-32144134474369172092018-11-18T16:14:00.001-08:002018-11-18T16:26:30.456-08:00The Knives in New Statesman Best Books of 2018...<!--[if gte mso 9]><xml>
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There was much rejoicing round mine back in 2016 when <b><i>The Knives</i>
was a <i>New Statesman</i> Book of the Year pick</b>; and I can’t say I was any less
thrilled last week – reader, I opened a bottle – when the great <b>David Hepworth</b> (he
of <i>Smash Hits</i>, <i>Whistle Test</i>, <i>Mojo</i>, and the author of several superb
pop-cultural books including <i>1971</i>) <a href="https://www.newstatesman.com/culture/books/2018/11/best-books-2018" target="_blank">selected my defiantly not-yet-past-it novel as his best read of 2018</a>. A big thanks owed to a writer I admire hugely.</div>
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In doing so Mr Hepworth also gave voice to a question that
must <b>surely have burned in the hearts of millions</b> during the run of the BBC’s
big drama smash of this year... Sadly, I know the answer. The people who make TV dramas are very smart people with a pretty sure sense of the audience for whom they're spending all that money in order to entertain grippingly from week to week. <b>The relationship between my fictional Home Secretary Blaylock and his close-protection bodyguard Andy Grieve</b> is vital to <i>The Knives</i>; but never in a million years would it have occurred to me to rework that relationship as a study in male-female sexual tension. </div>
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Also, since I believe our elected politicians are rarely much better or worse in nature than we the people, I suspect I'd struggle somewhat to render with any conviction the power-corrupts dynamic that drives the majority of political thrillers made for film and TV.</div>
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-63153035989352629612018-11-18T15:49:00.000-08:002018-11-18T15:49:01.268-08:00Me for BBC Radio 4 Open Book: "Why put real people in novels? What gives you the right?" <!--[if gte mso 9]><xml>
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<a href="https://2.bp.blogspot.com/-rF6bvz7mZvE/W_H5SxCzlpI/AAAAAAAACEo/6dD_YVCRlG8EqSbwvp9RX5iaZ4ByHxgTgCLcBGAs/s1600/BeFunky-collage%25284%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="763" data-original-width="1600" height="152" src="https://2.bp.blogspot.com/-rF6bvz7mZvE/W_H5SxCzlpI/AAAAAAAACEo/6dD_YVCRlG8EqSbwvp9RX5iaZ4ByHxgTgCLcBGAs/s320/BeFunky-collage%25284%2529.jpg" width="320" /></a></div>
<div class="MsoNormal">
Literary platforms don’t come lovelier than <b>the column slot
on BBC Radio 4’s <i>Open Book</i> with Mariella Frostrup</b>, and the other week I took a
turn on the subject of putting real people into novels: <b>Marx, Freud, Tom Cruise, Tony Blair,
Emperor Hadrian, Her Majesty</b>... Many thanks to producer Ellie Bury for inviting me in. You can <a href="https://www.bbc.co.uk/sounds/play/m00013js" target="_blank">listen to the programme on iPlayer here</a> and my
slot is from 08:31-12:40. My text is pretty much as below: </div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal">
<b>If you call yourself a fiction writer, why put real people
in your novels – rather than characters you’ve made up, whom you can claim as
your own inventions? </b>What gives you the right to appropriate the lives of
others?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well, for starters you might say that storytelling – from
Homer’s time, to Shakespeare’s, and ours – has relied hugely on the compelling
lives or legends of people who actually existed. And fans of historical fiction
expect – even demand – <b>the special pleasure of meeting historical figures on
the page</b>.</div>
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<br /></div>
<div class="MsoNormal">
We all enjoy novels that mix famous individuals with
fictional ones: Sigmund Freud treating Sherlock Holmes for cocaine addiction in
Nicholas Meyer’s <i>The Seven-Per-Cent Solution</i>; Karl Marx encountering a serial
killer in Peter Ackroyd’s <i>Dan Leno and the Limehouse Golem</i>; Mohandas Gandhi
popping up as a Boer War stretcher-bearer in Giles Foden’s <i>Ladysmith</i>. Cameos of
this kind, short and sweet, play cleverly on <b>one or two things we know for sure
about eminent figures </b>of the past. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But what about fictionalising figures of the present day?
<b>Tom Cruise</b> might have been un-amused to see a version of himself in Bret Easton
Ellis’s <i>American Psycho</i>, making small talk in an elevator with Ellis’s
murderous protagonist. But, as far as we know, he made no fuss. I gave the
young <b>Tony Blair</b> a walk-on part in my novel <i>Crusaders</i>, and I’ve never heard
from the former PM’s lawyers, so presumably my imaginative work didn’t amount
to any slur on Blair’s reputation.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many writers evade a debt to the actualité <b>by creating
composite characters</b>, amalgamated from various traits of assorted real people –
who, like Frankenstein’s monster, leave no identifiable fingerprint. That
method runs into trouble, though, if any reader can spot the unmistakable shape
of one real person – as when the poet Stephen Spender read David Leavitt’s
historical novel <i>While England Sleeps</i> and saw a character based all too clearly
on passages from his own memoir, <i>World Within World</i>. </div>
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<br /></div>
<div class="MsoNormal">
So, this is risky ground for writers; and some might say
that any intermingling of fact and fiction is an insult to historical truth. I
began by asking, what gives a novelist the right? Marguerite Yourcenar, author
of the masterpiece <i>Memoirs of Hadrian</i>, argued that a novelist possesses a
mysterious faculty – <b>she calls it ‘sympathetic magic’ </b>– to enter the minds of
others. But that won’t stand up in court against a charge of libel; which is
why the wisest course for a writer still is to <b>wait until the person they want
to write about is no longer with us</b>. </div>
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<br /></div>
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Strangely, the public figure of our time who seems above all
to defy that wisdom is <b>Her Majesty Queen Elizabeth</b>. We’ve seen the well-known
dramas of her reign depicted in Peter Morgan’s movie <i>The Queen</i>, and his TV
serial <i>The Crown</i>. But Alan Bennett, in his story <i>The Uncommon Reader</i>, was so
bold as to transport himself into the Queen’s head for a fanciful tale of how
she discovers the joys of promiscuous reading by way of a mobile library parked
in the grounds of Windsor Castle. In Sue Townsend’s The Queen and I, the
monarch suffers the indignity of eviction from the Palace by a republican
government and has to eke out an existence on a sink estate in the Midlands.</div>
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<br /></div>
<div class="MsoNormal">
Of all people to find themselves so persistently
fictionalised – why Her Majesty? Is it because the Royal Family, famously,
‘can’t answer back?’ Or because the Queen recognises her likeness in these
fictions? Or, that she simply doesn’t care? Whatever the truth – <b>as a fiction
writer I must confess, I rather wish there were a few more like her</b>.</div>
</blockquote>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-27387943981042763522018-11-18T15:30:00.000-08:002018-11-18T15:30:23.843-08:00For Critical Quarterly - 'Brexit in fact and fiction: a few first drafts of history'<div class="extra-info-wrapper cover-image__details">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-hxnl7KVAcH4/W_H11R6cxoI/AAAAAAAACEc/GmpxdchsvZMm61arTwQQ5gew5ERvekMwwCLcBGAs/s1600/13869-1810180510099.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="464" data-original-width="300" height="320" src="https://1.bp.blogspot.com/-hxnl7KVAcH4/W_H11R6cxoI/AAAAAAAACEc/GmpxdchsvZMm61arTwQQ5gew5ERvekMwwCLcBGAs/s320/13869-1810180510099.png" width="206" /></a></div>
<div class="MsoNormal">
Nice to be back in the pages of <i>Critical Quarterly</i> – <a href="https://onlinelibrary.wiley.com/doi/10.1111/criq.12416" target="_blank">Volume 60, Issue2, July 2018</a>, to be precise – with <b>my essay on Brexit and fiction</b> first
presented at the University of Northampton in 2017. I set the scene like so: </div>
<blockquote class="tr_bq">
<div class="MsoNormal">
<i>“The EU referendum result split the nation near enough in
half; defenestrated a Tory Prime Minister; confounded the ambitions of more
than one of David Cameron’s putative successors; and, within a year, had
created the conditions whereby a pension-aged Trotskyist with a career-long
disdain for the European ‘project’ could entertain a real hope of leading the
largely pro-Remain Labour party into government. As dramatic material this is
worthy of Sophocles or Shakespeare. The challenge for writers of fiction, a
perennial one, is whether or not they can improve on the facts already known by
way of an imaginative treatment; or whether the facts are simply richer,
stranger and more compelling when simply recorded in plain words…”</i></div>
</blockquote>
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-77289161104806600702018-11-18T15:16:00.001-08:002018-11-18T15:20:25.821-08:00Writers & Intellectuals on Britain & Europe, 1918-2018: A conference at Northumbria University<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-JU7eXlmteiM/W_HxopY89ZI/AAAAAAAACD0/fyHsyRpYkfoPrfd23W8mmu0znv-khNNpACLcBGAs/s1600/Northum.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="513" data-original-width="542" height="302" src="https://3.bp.blogspot.com/-JU7eXlmteiM/W_HxopY89ZI/AAAAAAAACD0/fyHsyRpYkfoPrfd23W8mmu0znv-khNNpACLcBGAs/s320/Northum.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">M.G. Sanchez, Kristian Shaw & Your Correspondent</td></tr>
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<b>Always a pleasure to be in Newcastle</b>, especially so for me a
couple of weeks ago when I attended the Northumbria University conference <b>'Writers
and Intellectuals on Britain and Europe, 1918-2018,' </b>convened by Dr Ann-Marie
Einhaus. </div>
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I had a couple of speaking functions to perform: first on a panel
called <b>‘Writers on Britain and Europe now,’</b> chaired by Bob Eaglestone from Royal
Holloway University, where I exchanged views with Fiona Shaw, Mark (‘M.G.’)
Sanchez and Kristian Shaw; <span style="mso-spacerun: yes;"> </span>and then in a
session entitled <b>‘Novelists on Brexit’</b> (chaired by Barbara Korte of Albert-Ludwigs-University
Freiburg, alongside Mark once more, plus Ina Habermann of the University of
Basel, and this time I delivered my paper: ‘“We must suffer them all again”:
Political fictions and their debt to “past experiments”’; I took my texts from
<b>Auden, Brecht and Anthony Wedgwood-Benn</b>.</div>
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A fascinating day in all; I met some terrifically smart people; I hope to publish my paper in due course; and
some of my contributions to the first panel session were captured pretty
faithfully on Twitter as below.<br />
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-86887220587438774972018-11-12T02:15:00.003-08:002018-11-12T02:15:59.237-08:00Highballs for Breakfast: "I'm going to do it again!"<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-qyyD_DevD-Y/W-lQ64qtK1I/AAAAAAAACDc/ldJLHKuGBsMIec1cBWiUCNRfBqXuyfwMwCLcBGAs/s1600/pgw.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="676" data-original-width="440" height="320" src="https://4.bp.blogspot.com/-qyyD_DevD-Y/W-lQ64qtK1I/AAAAAAAACDc/ldJLHKuGBsMIec1cBWiUCNRfBqXuyfwMwCLcBGAs/s320/pgw.jpg" width="208" /></a></div>
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Back in 2016 I spent some delightful months carpentering an
anthology of <b>Wodehouse's best stuff on booze</b>. On publication the thing seemed
to slip down well enough. <a href="https://www.thetimes.co.uk/article/highballs-for-breakfast-the-very-best-of-pg-wodehouse-on-the-joys-of-a-good-stiff-drink-edited-by-richard-t-kelly-q99lq3lj0" target="_blank"><b>'Splendid,'</b> said the <i>Times</i>.</a> <a href="https://www.the-tls.co.uk/articles/public/wodehouse-alcohol/" target="_blank">'Enjoyable,' said the TLS</a>, and it ought to know. Two happy years later, <a href="https://www.penguin.co.uk/books/111/1112549/highballs-for-breakfast/9781787462045.html" target="_blank">this tonic-like volume is now in paperback, £8.99</a>, and I call that a gift.</div>
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A common problem with authors who wrote well about alcohol –
Scott Fitzgerald, say, or Charles Bukowski – is that often they were
alcoholics, with all the misery that entails. Wodehouse, though, flies
breezily free of such gloom. One of the great tonics of his famous comic
writing is its sense that happiness may be reliably found through <b>the ‘life-restoring
fluid’</b> contained in ‘the magic bottle.’ Here are three of my favourite such moments:</div>
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Gregory Parsloe (in <i>Pigs Have Wings</i>) suffers romantic
rejection yet is consoled by a tankard of beer that appears before him in the
manner of an old pal: <b>‘A woman is only a woman, he seemed to be saying, but a
frothing pint is a drink.’</b></div>
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Stanley Ukridge (in <i>Nothing Serious</i>), reduced to rummaging
the drinks cupboard in dire need, finds only a crusty port; yet consoles
himself with the thought that, often, <b>‘a good go in at the port at a critical
moment has made all the difference to me as a thinking force.’</b></div>
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Motty (in <i>Jeeves and the Unbidden Guest</i>), having gotten
disgracefully drunk while lodging with a friend, is offered by his host the
chance to plead food poisoning as the cause, but defiantly refuses: <b>‘‘No!’ he
replied firmly. ‘I didn’t do anything of the kind. I drank too much! Much too
much. Lots and lots too much! And, what’s more, I’m going to do it again!’</b></div>
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<![endif]-->Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-20372600093159935552018-05-01T02:18:00.001-07:002018-05-01T02:18:28.638-07:00The Ministry of Intractable Problems<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-zz1BOZclNt4/WugtsQtW8FI/AAAAAAAACDI/Ue2rQZwmaY4HAQ-hGbw-9AAYkZcDlXBtgCEwYBhgL/s1600/JS103243978.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="409" data-original-width="615" height="212" src="https://2.bp.blogspot.com/-zz1BOZclNt4/WugtsQtW8FI/AAAAAAAACDI/Ue2rQZwmaY4HAQ-hGbw-9AAYkZcDlXBtgCEwYBhgL/s320/JS103243978.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amber Rudd MP, now the former Home Secretary</td></tr>
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The BBC News Channel kindly had me on yesterday afternoon to
talk about <b>the job of Home Secretary and my fictional rendering of it in <i>The
Knives</i></b>. Amber Rudd’s regrettable exit from the front line was the pretext; and the sixth of my
novel’s seven parts does indeed describe a ministerial crisis wrought by cascading malfunctions
arising from immigration policy, during which my made-up Home Sec David
Blaylock must fight for his political survival or else by propelled out of the door – by events,
unintended consequences, angry bystanders, assorted ill-wishers <i>etc.</i> </div>
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<br /></div>
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(Spoiler
alert: Blaylock wins the aforementioned battle, partly by outmanoeuvring a broadsheet newspaper
determined to oust him, and by physically confronting a leaker within his department. Both of these dramatic turns are, I admit, a novelist’s fancy rather
than the products of research.)</div>
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<br /></div>
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Anyhow, this (approximately) is what I told the BBC. </div>
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David Blunkett rightly described it as <b>a job consumed by 'intractable problems'</b>. The job of Home
Secretary - whoever’s doing it, of whatever political stripe - seems to me beset
by three challenges that tower above all. </div>
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<br /></div>
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1) Because of <b>the huge and burning responsibilities of borders,
police and counter-terror</b>, a great swathe of the public have an opinion on how the
Home Secretary’s doing, even if they don't know his/her name or indeed anything else about them; and a goodly few are
so insistent about what should be done to <b>‘sort out’</b> any given mess that you could
almost believe they imagine they could do the job better - freelance, as it were, without training or experience.</div>
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<br /></div>
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2) Unlike in the other great offices, at the Home Office your ‘customers’ include
a substantive number of individuals who don’t see you as acting for their
interests – <b>they don’t want you to succeed in your job</b> (for instance, people
who are very well aware that they are in the UK illegally; or people plotting
terrorist acts of wickedness against the civilian populace.)</div>
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<br /></div>
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3) The cliché of ‘Events, dear boy’ is truer at the Home Office
than anywhere else in politics. As Jack Straw’s ‘Sir Humphrey’, Richard Wilson,
told him on the day he took up the post, he needed to enjoy the blue sky outside
his window while he could, because <b>an Exocet missile would be headed his way
soon enough</b>.</div>
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<br /></div>
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Straw – in his fine 2012 memoir – also stresses that the
Home Secretary wrestles with four very distinct factions in order to force
through policy, or even just get through the working week: <b>there is the Public,
there is the Press, there is the Party – and then there is the Department
itself</b>, which has a long history of taking a different view to the Minister,
subtly or otherwise, as well as some strange collective sense of its own <i>amour
propre</i>. (David Blaylock, while clashing with his own Permanent Secretary,
feels a dispiriting perception afloat of <i>‘successive ministers as mere
fly-by-nights passing through a far more solidly entrenched world.’</i>)</div>
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I take from Straw that no-one can hope to survive long as
Home Secretary unless they have more or less squared away all four of those
forces: Public, Press, Party, Department. It’s a truly nerve-straining proposition,
and small wonder the job has undone so many gifted, smart and seemingly
durable performers. But, the knives are always out for you: you need eyes in
the back of your head.<br />
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<br /></div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-45225732610186848482017-12-01T08:42:00.001-08:002017-12-01T08:43:50.634-08:00Aickman at the British Library: A Symposium<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-qZ5J9VTJsVE/WiGF25cEycI/AAAAAAAACCk/3buawVGMyC4Krf7sHF897IO4823RuaeHQCLcBGAs/s1600/Aickman%2BBL2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="470" data-original-width="804" height="233" src="https://2.bp.blogspot.com/-qZ5J9VTJsVE/WiGF25cEycI/AAAAAAAACCk/3buawVGMyC4Krf7sHF897IO4823RuaeHQCLcBGAs/s400/Aickman%2BBL2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Our panel of 6, plus the 7th who moved unseen among us. (Photo: Chris Power)</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<a href="https://www.bl.uk/events/even-stranger-things-a-night-for-robert-aickman" target="_blank"><b>Our Aickman evening at the British Library</b></a> was, I believe,
something of a success. At least, I like to imagine the man himself was with us
in spirit, wearing the smile that a ghost would wear while we sang his praises.
To be a ‘neglected’, ‘cult’ author is of course to be a bit of a phantomic
presence, <b>a perpetual ghost at the feast of English letters</b>, maybe doomed to
walk the earth forever unwelcomed. But Aickman is now a kind of fixture in the
nation’s great library, and that’s not nothing, as they say in showbiz.</div>
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We tried to summon him right from the start of the night by
playing a small audio clip of him reading, very characteristically, from ‘Bind
Your Hair.’ (In a letter to Ramsey Campbell of June 1978, now lodged in the BL
archive, Aickman writes: <i>‘I always read each story aloud to a [certain]
selected person... There is nothing like reading aloud for the tidying up of
stylistic shortcomings.’</i>) </div>
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Then Ramsey himself spoke, reading from the memoir <i>The
Attempted Rescue</i> in which Aickman praises the mountain-film era Leni
Riefenstahl at vivid length and makes a tortuously felt effort to exonerate
Riefenstahl of her later closeness to the Nazis. It was an astute way for
Ramsey to open a window on <b>Aickman’s unbending opinions – mostly of an artistic
nature, some of them expressed in political conservatism</b>. He was – to put it
mildly, though it was put so on several occasions during our evening – a man
out of time, who felt himself born in the wrong age.</div>
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Reece Shearsmith’s reading from ‘The Hospice’ could have
lasted all night, such was the pleasure it stirred; and Jeremy Dyson’s turn
with ‘Wood’, a superb if less-celebrated story replete with a secluded village
and some sinister corn dollies, showed very well why <i>The League of Gentlemen</i>,
as well as the contemporary turns both in English nature writing and
supernatural writing, are <b>really rather Aickman-esque</b>.</div>
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In the end I had to ask the panel: here is a superb writer,
a writer’s writer, writing (whether he disdained it or not) in one of the
world’s most popular genres – <b>why, then, is he still not better known</b>? One
reason, perhaps, is now to be found in the BL archive: a letter to a literary
agent in which Aickman distinguishes between ‘entertainers’ who ‘write for a
specific market’ and ‘artists’ who ‘write in response to a voice inside them.’
<b>Aickman refused to sell out, whether or not anyone was buying.</b> His friend Jean
Richardson told me that he steadfastly refused to inject his stories with ‘more
subtle sadism’ of a sort that might have served to ring the mainstream bell. No
tears, then – for Aickman did what he wanted to do, and the outcomes
earned him undying respect, that elusive immortality that many an artist will
dream of.</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-10295704571848917612017-11-08T02:51:00.000-08:002017-11-08T02:51:22.344-08:00Robert Aickman at the British Library 10.11.2017<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-TgIDY4bGCbw/WgLgQR4QDaI/AAAAAAAACCI/vaBGgUWSltUhi9UAJW8WpKIshTxy5YlawCLcBGAs/s1600/aickman.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="964" data-original-width="658" height="320" src="https://1.bp.blogspot.com/-TgIDY4bGCbw/WgLgQR4QDaI/AAAAAAAACCI/vaBGgUWSltUhi9UAJW8WpKIshTxy5YlawCLcBGAs/s320/aickman.jpg" width="218" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aickman photographed by Jean Richardson</td></tr>
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Is Robert Aickman the twentieth century’s <b>‘most profound writer of what we call horror stories and he, with greater accuracy, preferred to call strange stories’? </b>That was the view of Peter
Straub, celebrated author of <i>Ghost Story </i>among<i> </i>others. I think ‘most profound’ is perfectly justifiable even before we get to considerations
of style, which in the case of Aickman are considerable. The work is pregnant
with unease, melancholia and dread – perfect, then, for this time of year, and
also for any other.</div>
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Possibly Aickman is one of those writers who will never get his due,
<a href="http://www.independent.co.uk/news/long_reads/robert-aickman-celebrated-british-library-author-literature-supernatural-fiction-genre-strange-tales-a8005471.html" target="_blank">doomed to a purgatory of perpetual ‘rediscovery’</a>; but the rediscoveries keep
getting bigger. <a href="http://blogs.bl.uk/english-and-drama/2017/11/robert-aickman-strange-stories-in-the-archive-.html" target="_blank">The British Library has now acquired and catalogued his archive</a>,
and there will be <a href="https://www.bl.uk/events/even-stranger-things-a-night-for-robert-aickman" target="_blank">an event at the Library this Friday, hosted by your correspondent, to mark the occasion and celebrate the man and his work</a>. </div>
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To speak of only one treasure in that archive: the Library now holds the
manuscript of Aickman’s only unpublished novel, ‘Go Back at Once’ (1975); and
that title is so marvellous and so very Aickman that I’m not sure I’d even want
to read the work, such is my pleasure in just knowing that it exists.</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-61102765593627287752017-11-05T17:09:00.000-08:002017-11-05T17:09:20.541-08:00Graeme Souness: buzzer, cruncher, spreader<!--[if gte mso 9]><xml>
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<a href="https://3.bp.blogspot.com/-N5uVrEqxZyI/Wf-0Rhhf3mI/AAAAAAAACB0/jjUbGNAKmD0cBgIQU85aM6P65BrnVstugCEwYBhgL/s1600/Graeme-Souness.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="402" data-original-width="615" height="209" src="https://3.bp.blogspot.com/-N5uVrEqxZyI/Wf-0Rhhf3mI/AAAAAAAACB0/jjUbGNAKmD0cBgIQU85aM6P65BrnVstugCEwYBhgL/s320/Graeme-Souness.jpg" width="320" /></a></div>
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<span style="mso-bidi-font-size: 14.0pt;"><b>‘We called him Sowness when he
was at Middlesbrough.’</b> This, if I’m remembering right, was Bob Mortimer’s
memory of how Graeme Souness was welcomed when he joined Jack Charlton’s team as a
player on Teesside; and I think it’s true, because my granny in County Durham
called him that and all - even when Souness was at Liverpool, skipper and top 'Jock' who could no longer
be imagined to hail from anywhere other than Scotland.</span></div>
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<span style="mso-bidi-font-size: 14.0pt;">You would tend to want to get his name right in person, I'd guess. There was a flair to how
Souness carried himself on and off the park, but at Middlesbrough he acquired his principal reputation, for a flint-like toughness.</span> What a
player he was, though. <span style="mso-bidi-font-size: 14.0pt;"><b>‘Most midfields
are made up of a buzzer, a cruncher and a spreader’</b>, Bob Paisley once observed.
<b>‘[Souness] is all three.’</b> The crunching is what we recall most feelingly, maybe. But the ‘spreading’ was the flashiest element:
Souness had a rare gift for abrupt switches of play from left to right through
pinpoint flighted passes. He also rifled in<a href="https://www.youtube.com/watch?v=r2LEeAjEMFU" target="_blank"> some brilliant goals</a>.</span></div>
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<span style="mso-bidi-font-size: 14.0pt;">Souness is widely felt to have
impaired his footballing reputation through management, even though he won a
fair few trophies with various clubs. He alienated the Liverpool support by talking to the <i>Sun</i> after
Hillsborough, though in 2011, however late it was, he made a pained and dignified apology. <b>By the time he finished as a boss at Newcastle in 2006, though, it was clear that Souness felt the game had gone to the dogs,</b> full of players to
whom he wouldn’t have given the time of day when he was playing. But the modern
manager simply has to finesse such matters, and Souness is maybe an arch example of a player who was too formidable an ex-pro to sit easily in the dugout.</span></div>
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<span style="mso-bidi-font-size: 14.0pt;">Souness has just published a
new memoir and I must say I enjoyed his previous ones. <a href="http://www.heraldscotland.com/arts_ents/15625472.__39_I__39_d_do_it_all_again__mistakes_and_all__39___Graeme_Souness_on_vanity__sacrifice_and_THAT_moustache/" target="_blank">In an interview-feature with Souness for the Glasgow <i>Herald</i>, Teddy Jamieson</a> does a good job of getting
lines out of the great man and is kind enough to quote me appositely from
<i>Keegan and Dalglish</i>.</span></div>
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Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-35033193882536493672017-11-01T08:08:00.000-07:002017-11-01T08:08:46.271-07:00Who Can You Trust?: The Book of the BFI Season<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-Hzbrh4gQtXc/WfniB81poBI/AAAAAAAACBk/wtRVW-2__kYB49ulWnM1gltTT2HOdGIzwCLcBGAs/s1600/BFI.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="499" data-original-width="384" height="320" src="https://2.bp.blogspot.com/-Hzbrh4gQtXc/WfniB81poBI/AAAAAAAACBk/wtRVW-2__kYB49ulWnM1gltTT2HOdGIzwCLcBGAs/s320/BFI.jpg" width="246" /></a></div>
<div class="MsoNormal">
Delighted to report that the BFI Thriller compendium <a href="https://www.amazon.co.uk/Who-Can-You-Trust-Television/dp/1912292009" target="_blank">is now for sale in shops and online</a>: another first-rate and very handsome gathering of
critical/historical work under the BFI label, assembled<span style="mso-spacerun: yes;"> </span>by <i>Sight & Sound</i>'s James Bell.</div>
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<br /></div>
<div class="MsoNormal">
It was a pleasure for me to be allotted such generous space
in which to discuss what we have learned (after Hofstadter) to call <b>'the paranoid style in American
politics'</b>; and its presence in American cinema from <i>The Manchurian Candidate</i> to <i>The Parallax View</i>, <i>JFK</i>, <i>Syriana</i> etc. With so much to discuss it would have been
superfluous for me to cite Norman Mailer's famous contrast, in <i>The Presidential
Papers</i>, between the history of politics (<b>‘concrete, factual, practical and
unbelievably dull’</b>) and <b>‘the dream life of a nation’</b> (<b>‘a subterranean river of
untapped, ferocious, lonely and romantic desires.’</b>) But you all know that one,
right? The point is that we need, via fiction, to put a foot in that river now and then - remembering all the while that 'paranoia' should not be dismissed, but neither encouraged nor indulged while we're about it.</div>
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<br /></div>
<div class="MsoNormal">
Arguably I could have used my allocation a bit more shrewdly
to permit a discussion of certain famous UK films and TV series on the paranoid
theme, most of them hailing from the 1980s when arguments were especially
heated on the subject of what a Conservative British state might conceivably do to protect and enhance
its status as a nuclear power allied to the USA: I’m thinking of <b><i>Defence of the Realm, Edge of
Darkness, A Very British Coup, Hidden Agenda</i>.</b> Another time, perhaps.</div>
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<br /></div>
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Here’s how my essay, 'Can You Trust The Government?', begins: </div>
<br />
<blockquote class="tr_bq">
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<i>Closing his farewell address to parliament as UK Prime
Minister in 2007, Tony Blair seized the moment to mount a defence of politics
as a vocation. ‘<b>If it is on occasions the place of low skulduggery,’ Blair
contended, ‘it is more often the place for the pursuit of noble causes.’</b> Where
politics has inspired thrilling movies, though, it’s mainly that sense of
skulduggery that has interested filmmakers and audiences alike – both groups
inclined to suspicion of the powers-that-be, believing, as did Lord Acton, in
<b>‘the certainty of corruption by authority.’</b></i></div>
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<br /></div>
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<i>Thus, in the modern political thriller the usual villain is
corrupt government, its corridors of power purposely darkened so as to conceal
malfeasance from public scrutiny. The ur-plot will involve one law-abiding
citizen stumbling on a stray insight into this nefarious world, resolving then
to expose the truth, but having to learn fast against a ruthless, hydra-headed
adversary. As such the genre relies heavily on the exciting tropes of the
detective and the fugitive – <b>elements that might be expected to work against a
plausible depiction of real-life politics</b>.<span style="mso-spacerun: yes;">
</span></i></div>
</blockquote>
<br />
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I've probably argued a few times too many that political
thrillers ought at least some of the time to depict elected representatives as
human figures, confronting dilemmas, racing against time, conscious of their
own failings - rather than, say, malevolent members of an Establishment cabal
covertly stitching up the People at any given opportunity. Mailer performed the
former function with distinction in his epic novel of the CIA, <i>Harlot’s Ghost</i>. When
asked by an interviewer why on earth he would want to humanise such people,
Mailer replied, <b>'They really are pretty awful. But on the other hand, who
isn't?’ </b>That’s a wittier way of rephrasing Senator Silas Radcliffe, anti-hero
of Henry Adams’ great novel <i>Democracy</i> (1880), who argues, rightly in my view,
that <b>‘no representative government can long be much better or much worse than
the society it represents.’</b></div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-3506095431065516512017-10-21T09:58:00.004-07:002017-10-21T10:28:13.758-07:00Harry Dean Stanton 1926-2017<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-weTMXoxNFNc/Wet46iV3ABI/AAAAAAAACBA/h56anOq-uPULVmDBKUFKW7sV7UWGPqGfACLcBGAs/s1600/harry-dean-stanton04.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="175" data-original-width="128" src="https://3.bp.blogspot.com/-weTMXoxNFNc/Wet46iV3ABI/AAAAAAAACBA/h56anOq-uPULVmDBKUFKW7sV7UWGPqGfACLcBGAs/s1600/harry-dean-stanton04.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Harry Dean, 2003</td></tr>
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This is a story I have about the late and rightly lamented
Harry Dean Stanton, who died on September 15 at the age of 91. I met him one
evening in Los Angeles in October 2002, when he’d have been 76?</div>
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<br /></div>
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I’d spent that afternoon very cheerfully in the old port
city of San Pedro, with Linda Bukowski, widow of the legendary Charles. It was
a special afternoon for me, having got a great deal of fun out of Bukowski’s
writing during my youth, to pass some hours chatting to Linda in the home she
and ‘Hank’ had shared, site of so many escapades. We had a couple of drinks: I
was on beer, but somewhat cautiously, as my next appointment was to meet Mr Stanton
at his home on Mulholland Drive. </div>
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<tr><td class="tr-caption" style="text-align: center;">Charles Bukowski</td></tr>
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I was aware he wasn’t widely thought to be the easiest man
to get to know. I knew Charles Bukowski had said as much to <i>Film Comment</i> magazine back
in 1987: <i>‘Harry Dean’s a strange fellow. He doesn’t put on much of a hot-shot
front. He just sits around depressed. And I make him more depressed. I say, ‘Harry,
for Chrissakes, it’s not so bad.’’</i></div>
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<br /></div>
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But Linda knew him well, of course, and assured me all would
be fine. She even rang him as I was packing up to go, and told him to go easy
on me: <i>‘You be nice to him now, Harry, OK?’</i></div>
<i>
</i><br />
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<br /></div>
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The skies were still light, or as light as Los Angeles gets,
when I left San Pedro, but it was extremely dark by the time I was winding my
way down round Mulholland Drive, which had very surely taken on the menacing aspect
of a place where David Lynch might shoot a movie.</div>
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<br /></div>
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Harry Dean’s place was a bungalow. I had to step cautiously down
flagstones overhung by trees in order to get round the back of the place and ring the doorbell.
Before I got there something dark and small darted across my path: in my mind’s
eye I remain convinced it was a raccoon.</div>
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<br /></div>
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Harry Dean answered the door in bathrobe and slippers, spectacles
on the end of his nose, hair a little wild. He welcomed me in, though there was
a wariness to him, a certain senior stiffness. Still his living space was
nicely arranged for a cordial chat, big sofas squared round a big coffee table
with a big ashtray. In fact I admired his bachelor pad all the way round: open
plan, cosily masculine, done in russet shades, a tidy kitchenette behind me,
while I could see that to the right of the front door was the master bedroom: a
tall mirrored wardrobe door hung open.</div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-J8DNA4ozY7Y/Wet6WLvx-_I/AAAAAAAACBM/X_viUT7TzWMcBN9-YiWGrr0EN9CzLN3ZgCLcBGAs/s1600/273479_full.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="671" height="200" src="https://1.bp.blogspot.com/-J8DNA4ozY7Y/Wet6WLvx-_I/AAAAAAAACBM/X_viUT7TzWMcBN9-YiWGrr0EN9CzLN3ZgCLcBGAs/s200/273479_full.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">HDS in Fire Walk With Me</td></tr>
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He didn’t seem keen on interviews - the legend was all true. He
asked me to prove to him that my tape recorder was really working. He wasn’t
sure I knew his body of work and needlessly listed the directors he’d done time
with – Hitchcock he seemed especially proud of. Of course, if we’d had time I
would have gladly enthused about everything from <i>Missouri Breaks</i> to <i>Young
Doctors in Love</i> to <i>Fire Walk With Me</i>.</div>
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<br /></div>
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Then we were done. He told me he was <i>‘going out’</i> but I was
welcome to hang awhile, and that we might 'have a drink' once he was dressed and
ready? So he pottered off to that bedroom. I checked my tape recorder, reviewed
my notes, looked back on my busy day. That was ten minutes maybe. Then Harry
Dean re-entered, newly purposeful.</div>
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<br /></div>
<div class="MsoNormal">
The phrase that leapt into my head, honestly, was ‘Alley Cat.’
(‘Rat Pack’ might have been in there, too.) The man was dressed <i>sharp</i>; and he
was tapping a cigarette on a silver case. He’d donned a black suit and a crisp shirt, tie with clip, shoes with a high sheen; and the hair was now slick. Now he was smiling a great
deal, like everything amused him, since it was time to ‘go out.’ And I felt I
understood it all now, including the story about the date he'd brought
to Sean Penn’s wedding in 1985. He fixed us vodka tonics, plenty stiff, and the
evening got yet more memorable.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So count me in as a big, big Harry Dean fan, all the way. Too many superb performances
to cite, but my favourite, if I had to pick one, is this – this scene,
especially.</div>
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<br /></div>
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<iframe allowfullscreen="" frameborder="0" height="280" src="https://www.youtube.com/embed/kaUuSJx-VDA" width="500"></iframe></div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-68212570761169168432017-10-21T08:50:00.000-07:002017-10-21T08:53:10.265-07:00The Polyglots by William Gerhardie; and my part in its persistence<!--[if gte mso 9]><xml>
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</xml><![endif]-->Earlier this decade I had a stint as publishing editor of a list dedicated to the reissue of neglected or 'lost' books of distinction: Faber Finds. One of the eminent long-gone authors under my wing was William Gerhardie, he of <i>Futility,
Doom, The Polyglots, Resurrection, Of Mortal Love, Pretty Creatures, My
Wife’s the Least of It, Pending Heaven, Memoirs of Satan</i>, et cetera. <br />
<br />
But possibly you're rubbing the chin now, wondering if this is a name and an oeuvre you've ever come across before... Don't worry, that's fine. Michael Holroyd, who has worked diligently to improve Gerhardie’s reputation, once hymned him as a writer <i>‘whose books need to be rediscovered by each new generation of readers.’</i> And there’s the difficulty: Gerhardie has become the near-archetypal ‘lost writer’, and readers just have to keep rediscovering him.<br />
<br />
Blessedly, the house of <a href="http://headofzeus.com/books/polyglots" target="_blank">Head of Zeus has now reissued Gerhardie's most widely admired novel, <i>The Polyglots</i>, in a new trade edition</a>, and they were so kind as to ask me to write an introduction (the opening gambit of which is below.) In tones dreadfully familiar to most working novelists, Gerhardie once lamented that <i>The Polyglots</i> had earned him <i>‘something equivalent, in terms of royalties, to nothing.’ </i>But it lives, it survives to speak to us still.<i>' 'All great writing,' </i>George Steiner insisted, <i>'springs from
</i>le dur desir de durer<i>, the harsh contrivance of spirit against death, the
hope to overreach time by force of creation.'</i> And that's what it's all about.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-6cw2h1repYs/WetsULWeQ5I/AAAAAAAACAw/Y9XrgPEPbcYP1jq8Rqb5lPr1SlFTBd8oACLcBGAs/s1600/intro%2Bgerhardie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1199" height="270" src="https://2.bp.blogspot.com/-6cw2h1repYs/WetsULWeQ5I/AAAAAAAACAw/Y9XrgPEPbcYP1jq8Rqb5lPr1SlFTBd8oACLcBGAs/s400/intro%2Bgerhardie.jpg" width="400" /></a></div>
<br />Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-44164838169672118392017-09-05T05:51:00.000-07:002017-09-05T05:52:24.311-07:00Proms Extra, unfinished work, the vital placenta...<!--[if gte mso 9]><xml>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-3zLEJ9zEhDQ/Wa6aXEXYd3I/AAAAAAAAB-U/DGkJWgSqaZoAyXOAga7bphyxswOyE1j7gCLcBGAs/s1600/IMAG0750.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1103" data-original-width="1493" height="236" src="https://4.bp.blogspot.com/-3zLEJ9zEhDQ/Wa6aXEXYd3I/AAAAAAAAB-U/DGkJWgSqaZoAyXOAga7bphyxswOyE1j7gCLcBGAs/s320/IMAG0750.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From left:Tim McInnerny, your correspondent, Shahidha Bari</td></tr>
</tbody></table>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
A theme of this year’s <a href="https://www.bbc.co.uk/events/rcrbj5" target="_blank">BBC Proms</a> has been <b>'Unfinished Work'</b>, which
makes rich pickings for anyone interested in the discerning matter of artistic
decision-making, branching histories and all the things that might have been
had we but world enough and time. </div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
I had the great, great pleasure of participating
in a <a href="https://www.bbc.co.uk/events/e4rxp6" target="_blank">BBC Radio 3 Proms Extra discussion</a> last Friday at Imperial College Union, hosted
by <b>Shahidha Bari</b> with consummate readings by <b>Tim McInnerny</b>. The whole was
expertly boxed by producer <b>Simon Richardson</b> into a 20-minute extract broadcast
at half-time in that evening’s Prom concert. <a href="http://www.bbc.co.uk/programmes/b092kkvy" target="_blank">You can listen here</a>, between 24:14 and 44:26, if you're subscribed to BBC playback services, and if not then the procedure takes a mere moment.</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
What is the principal allure of the unfinished? In his <i>Natural History</i>, Pliny
the Elder wrote feelingly of how <i>‘the last works of artists and their
unfinished pictures’ </i>can be<i> ‘more admired than those which they finished,
because in them are seen <b>the preliminary drawings left visible and the artists’
actual thoughts</b>, and in the midst of approval’s beguilement we feel regret that
the artist’s hand while engaged in the work was removed by death.’</i></div>
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<br /></div>
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Writers may die too soon even today but, generally, later than they used
to. There are other intriguing reasons (excuses?) for not finishing. Writers can
be very tough judges of their own output, never truly satisfied. They may come
to find in their hearts that they should never have started the work in the
first place, <b>because they didn’t really know how to finish it</b> – didn’t know, in
other words, what the book was really about. But in the cases of writers of
distinction the incomplete manuscript offers a privileged look inside the
workshop and the writer’s struggles to fashion the raw material: our
imaginations are piqued by the great unknowable of where we might finally have
been transported.</div>
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<br /></div>
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One or two things I might have added to the broadcast, world enough and
time etc:</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
- Another aspect of Ralph Ellison’s labours over what we now call <i>Three
Days Before the Shooting... </i>is that some part of his inspiration was the hugely charged ‘moment’
in American race relations circa 1955, <a href="https://en.wikipedia.org/wiki/Brown_v._Board_of_Education" target="_blank">Brown vs. Board of Education</a> etc; but that 'moment' just kept moving on, and
Ellison couldn’t be uninterested in the real-world real-time transformation of his
nation. It did, though, prevent him perhaps from getting fully astride of his
material. If you want to write about the times you’re living through, it can be
a helpful idea to pick <b>a fixed moment from the recent past</b> – five to ten years
ago, say? – and to stay there.</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-0GSVUIQrvUs/Wa6cLEPA87I/AAAAAAAAB-g/3jDU4yFtREQF0D5CWFgwMO_CmJRy6m1sgCLcBGAs/s1600/2015-01-08-kafkacastle.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="400" data-original-width="289" height="200" src="https://4.bp.blogspot.com/-0GSVUIQrvUs/Wa6cLEPA87I/AAAAAAAAB-g/3jDU4yFtREQF0D5CWFgwMO_CmJRy6m1sgCLcBGAs/s200/2015-01-08-kafkacastle.jpg" width="144" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
- A chat about Kafka and <i>The Castle</i> had to be sacrificed
for time, and I doubt I said anything new, other than maybe that, on the
subject of perfectionism, all writers could do with being as hard on themselves
as Kafka was. (Of <i>The Metamorphosis</i>, one of the few works he proposed to spare
incineration, the most Kafka would say was that he was <b>‘not unhappy with it.’)</b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
- Of Scott Fitzgerald’s struggles in writing film scripts, which gave us
no cinema of note but a half-dozen chapters, at least, of <i>The Last Tycoon</i> – I still
get a smile from Joan Crawford’s famous attempt to encourage him during those
fruitless months at MGM: <b>‘Write hard, Mr Fitzgerald, write hard!’ </b>This is kindly,
hopeless advice. Either the stuff wants to come out or it doesn’t – willed exertion
levels have little or no purchase in the matter. </div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
- Any discussion of Jane Austen’s <i>Sanditon</i> leads one to the thorny
business of other writers, or scholars or editors or friends, trying to finish an
uncompleted work by unauthorised proxy. This to me is so inherently flawed an
enterprise as to seem fatal. The most gifted mind you might summon to such a
task is only going to make <b>educated guesses at forbiddingly hard-to-know
intentions</b>. Notes and diagrams of the sort that Fitzgerald left behind don’t begin to say how the
job ought to be done. Only a literary talent as large as the one who left the
scene could conjure the sorts of sparks that come from self-editing and
rewriting. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-5DsNVu_d9eY/Wa6ch4IHqHI/AAAAAAAAB-k/3HdeTdBsIcMfJMw0WkctOjSarYfCR_KcgCLcBGAs/s1600/mi.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="475" data-original-width="309" height="200" src="https://1.bp.blogspot.com/-5DsNVu_d9eY/Wa6ch4IHqHI/AAAAAAAAB-k/3HdeTdBsIcMfJMw0WkctOjSarYfCR_KcgCLcBGAs/s200/mi.jpg" width="130" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Marguerite Yourcenar, in her magisterial monograph on Yukio Mishima,
puts it best in addressing the question of whether Mishima truly completed his <i>Sea of Fertility</i> on
the morning of his suicide (per legend) or actually on his summer holidays a few months previous: </div>
<br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<i>‘ ... to finish the last page of a novel does not necessarily mean that
this book is done: a book can be considered finished only the day it is put in
an envelope and sent to the publisher... it is finished the moment it
definitively separates from<b> the vital placenta where books are conceived</b>...’</i></div>
</blockquote>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-89814783767299893612017-09-05T05:17:00.001-07:002017-09-20T04:56:40.988-07:00Keegan, Dalglish and a podcast with Matt Williams<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-HpW-RjpZ0nk/Wa6VBt7gatI/AAAAAAAAB-E/JeSqY4yhy9Qd1WPWZRCz3JzVy847ftIQQCLcBGAs/s1600/1978-12-23-dalglishkeegan.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="977" data-original-width="730" height="320" src="https://2.bp.blogspot.com/-HpW-RjpZ0nk/Wa6VBt7gatI/AAAAAAAAB-E/JeSqY4yhy9Qd1WPWZRCz3JzVy847ftIQQCLcBGAs/s320/1978-12-23-dalglishkeegan.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I remember it like it were yesterday.</td></tr>
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Broadcaster <a href="http://www.bbc.co.uk/programmes/profiles/4mvWXFP7MBcyPT2wt0VbXB0/matt-williams" target="_blank">Matt Williams</a> – Lancashire-born, I believe, and reared near Liverpool – is the
man who expertly handles the sport on the <i>Simon Mayo Radio 2 Drivetime</i>
programme, and who, moreover, does a great service to those of us who write
books about sport by hosting a regular <i>Sports Book Podcast </i>in which he crafts a really considered platform for an author to explore with him the themes of the work in
question.</div>
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<br /></div>
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Late last month Matt kindly gave me a slot in which to talk
about <i>Keegan and Dalglish</i>: how their playing and managing careers intertwined, why
both players at times stood apart from their teammates, the famous debate of
whether Dalglish's talent was innate while Keegan had to work at his – it’s all
there, man. <a href="https://www.blubrry.com/sportsbookpod/26567216/episode-64-richard-t-kelly/" target="_blank">You can listen to it here.</a></div>
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<br /></div>
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Matt was particularly amused by an anecdote in the book related
to Gateshead’s own Lawrie McMenemy, who is, by all accounts and evidence, quite
a witty man. Here’s the text in question – it relates to Kevin Keegan’s desire,
circa early 1980, to move from Hamburg, back home...: </div>
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<i>Keegan was thinking seriously of England again,
above all for family reasons, but also thanks to a cheeky punt in his direction
ventured by Lawrie McMenemy, affable manager of Southampton, who called Keegan
in Hamburg with <b>a friendly enquiry about a special German variety of light
fitting</b>. McMenemy, in truth, was merely fishing for a way to sound Keegan out
about moving to the Saints. They had won the FA Cup in 1976, had been finishing
decently in the league, and McMenemy was assembling a squad of young bucks and
veterans who could still do a job: Mick Channon, Alan Ball, Dave Watson,
Charlie George. McMenemy let Keegan know all of this fascinating stuff in hope
that he might appreciate the special challenge of a ‘smaller club.’ </i></div>
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<i>In fact, for reasons McMenemy could only have half-guessed
at, his offer ticked most of Keegan’s boxes. Keegan agreed to take a meeting in
London at the loaned house of a Saints supporter; McMenemy’s finance director
Guy Askham also attended and brought a contract along just in case. <b>To their
amazement, Keegan signed it</b>. McMenemy stayed on in London to watch Keegan run
out for England at Wembley against Ireland, tickled by his private knowledge
that the England captain was now a Southampton player. Keegan scored both
goals, superbly, as England won 2-0. McMenemy continued to keep his £420,000
signing completely secret until the following week when he invited press to a
conference suite at the Potters Heron Hotel in Romsey, on the enticement that
they would get to meet someone with ‘a big part in the club’s future.’ Into the
suite strode Keegan, fresh off the plane, and well pleased by the matinee
performance McMenemy had made of it all.</i></div>
</blockquote>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-87251769193006147882017-09-05T03:57:00.000-07:002017-09-05T03:57:58.154-07:00Keegan, Dalglish, and all the money in football<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-5KpzgoPATs4/Wa6BLeZIzlI/AAAAAAAAB90/VlbBQT8IhM0_uRB3Gprjgjb52iibIo8vQCLcBGAs/s1600/keegan-mitre-1980.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="695" data-original-width="522" height="320" src="https://2.bp.blogspot.com/-5KpzgoPATs4/Wa6BLeZIzlI/AAAAAAAAB90/VlbBQT8IhM0_uRB3Gprjgjb52iibIo8vQCLcBGAs/s320/keegan-mitre-1980.png" width="240" /></a></div>
Most interested to read t<a href="https://unherd.com/2017/08/volatile-dripping-wealth-beyond-dreams-fans-beautiful-game-become-hyper-capitalists-game/" target="_blank">his piece by top commentator Chris Deerin for the new-start website <i>Unherd</i></a>, in which his account of the what-we-might-conceivably-call 'financialisation' of football becomes almost dizzying to people of my vintage who grew up with such a different game (albeit one in which Kevin Keegan seized on all of the limited opportunities then available for players to put money in their purses - see the illustration to your right, one of many lovingly curated at the witty nostalgia website <a href="http://www.whoateallthepies.tv/lists/195296/retro-football-a-large-selection-of-the-various-tat-flogged-by-kevin-keegan-over-the-years-photos.html" target="_blank"><i>Who Ate All the Pies?</i></a>)<br />
<br />
I'm reminded that when Newcastle United FC floated on the Stock Exchange back in 1997 its share-flogging brochure cited the club's primary activity as (I paraphrase) 'selling the rights to watch football matches.' As long as the customers are there - wherever they are, i.e. whether or not in such numbers through the turnstiles as once was - the money is liable to remain as bizarre as it is.<br />
<br />
Such vertiginous sensations about the sums sluicing through the sport were, of course, a point of departure for my <i>Keegan and Dalglish</i>, which is kindly cited halfway down the Deerin piece:<br />
<br />
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<br />Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-23789784976980220062017-08-30T13:28:00.001-07:002017-08-30T13:28:59.956-07:00The Knives: "Pulsating action, suspense & drama"!<!--[if gte mso 9]><xml>
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<a href="https://3.bp.blogspot.com/-bl4SEN35Yy0/WaceeJfUkBI/AAAAAAAAB9c/hnHhlNpfFKEZSpnVjnHOJP5uTe4lVe9SACLcBGAs/s1600/Knives%2Bsmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="616" data-original-width="400" height="200" src="https://3.bp.blogspot.com/-bl4SEN35Yy0/WaceeJfUkBI/AAAAAAAAB9c/hnHhlNpfFKEZSpnVjnHOJP5uTe4lVe9SACLcBGAs/s200/Knives%2Bsmall.jpg" width="129" /></a></div>
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<span class="st">A <a href="https://in.news.yahoo.com/tackling-terror-battling-betrayal-british-politicians-fate-053604785.html" target="_blank">very gratifying write-up here for <i>The Knives</i></a><i> </i>– under the headline <i>‘Tackling terror, battling betrayal - a British
politician's fate’</i> – by Vikas Datta, under the banner of the IANS (Indo-Asian
News Service). Datta gives a very astute summary of the novel's main 'argument' from the get-go:</span></div>
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<br /></div>
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<span class="st"></span><i>"There
is no shortage of security challenges - terrorism, radicalism, illegal
immigration (and the backlash it causes) - for modern nations,
particularly in the West. Now imagine you had the responsibility to
tackle these. How effective could you be against a backdrop of budgetary
cutbacks, political intrigue and a sensationalist media ready to pounce
on any lapse?</i></div>
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<i> </i></div>
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<i>In
the hot seat as Home Secretary, British soldier-turned-Conservative
politician David Blaylock discovers being tough himself is not enough,
his ministerial colleagues - who include two of Indian-origin - and
his bureaucrats can be as devious and covert as his adversaries,
whatever he does or doesn't will invite criticism and there are no easy
or evident choices. And his fierce temper that is never below the
surface isn't really helpful."</i><span class="st"> </span></div>
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<span class="st"> </span></div>
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<span class="st">This is the conclusion:</span></div>
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<span class="st"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="st"> </span><a href="https://1.bp.blogspot.com/-EzFV2XzxSoo/WaceIwFOL3I/AAAAAAAAB9Y/z1K5wJ_PxCc8CdD2VZsLChPXUlBN7CEDwCLcBGAs/s1600/kn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="619" height="180" src="https://1.bp.blogspot.com/-EzFV2XzxSoo/WaceIwFOL3I/AAAAAAAAB9Y/z1K5wJ_PxCc8CdD2VZsLChPXUlBN7CEDwCLcBGAs/s400/kn.jpg" width="400" /></a></div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-27210639275663283062017-08-30T08:40:00.000-07:002017-08-30T08:40:03.203-07:00The BFI Thriller Season: October-December 2017<!--[if gte mso 9]><xml>
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<a href="https://4.bp.blogspot.com/-C2C2itVdn58/WabZ6qx5kvI/AAAAAAAAB9I/9mPkSRUsgqktwAbdKAqZjq5HReGmlaahwCLcBGAs/s1600/pv.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="527" data-original-width="350" height="320" src="https://4.bp.blogspot.com/-C2C2itVdn58/WabZ6qx5kvI/AAAAAAAAB9I/9mPkSRUsgqktwAbdKAqZjq5HReGmlaahwCLcBGAs/s320/pv.jpg" width="212" /></a></div>
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The British Film Institute – where your correspondent did time
both as a student and employee – is a colossal force for film culture in the UK
and beyond, and in recent years it’s come to specialise in extended, ambitious big-theme
seasons unspooling at their South Bank base and venues countrywide. In 2013
they treated The Gothic, <a href="https://richard-t-kelly.blogspot.co.uk/2013/09/in-praise-of-pervasive-sense-of-evil.html" target="_blank">a project to which I was very pleased to contribute</a>. This
autumn, from October to December, they are doing <a href="http://www.bfi.org.uk/news-opinion/news-bfi/announcements/bfi-thriller-programme-annoucement" target="_blank">Thrillers – a vast, twisty, engrossing subject that surely offers something for everyone</a>.</div>
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To coincide with the season, the BFI will publish a <i>BFI
Thriller Compendium</i> with contributions from writers including Jake Arnott and
Lee Child. I was delighted to be asked to do the chapter on political thrillers, dealing
especially with themes of conspiracy and paranoia, from <i>The Manchurian Candidate </i>through <i>The
Parallax View</i> and <i>All the President’s Men</i> to <i>Syriana</i> and more. There's a lot to be said on the subject, and I hope it will be part of a great big diverse conversation stirred up by the season. See you there maybe?</div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0tag:blogger.com,1999:blog-407797814707983311.post-86261498425402582152017-08-10T04:32:00.001-07:002017-08-10T07:16:13.261-07:00Kevin Keegan: superstar, and "emotional lad"<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-RzhtZhpmTIw/WYxDJ1JSs1I/AAAAAAAAB8w/MH1XRkgJiKUz9D4pK2XSa3kVRhjPmTA_QCEwYBhgL/s1600/3a6e04256a095fe7081b02bd1d5d526e--kevin-keegan-kevin-oleary.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="299" data-original-width="245" src="https://4.bp.blogspot.com/-RzhtZhpmTIw/WYxDJ1JSs1I/AAAAAAAAB8w/MH1XRkgJiKUz9D4pK2XSa3kVRhjPmTA_QCEwYBhgL/s1600/3a6e04256a095fe7081b02bd1d5d526e--kevin-keegan-kevin-oleary.jpg" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
We’ve just seen another ‘Charity Shield’ go by, the current league champions
and FA Cup holders playing out a big curtain-raiser for the new football
season. 43 years ago today this match threw up one of its most incendiary
stagings.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
The man who struck the spark was Kevin Keegan:<i> the</i> superstar of 1970s
English football, the game’s first millionaire and multi-media celebrity, twice
winner of the Ballon d’Or and one of precious few British footballers who made
a success of a career overseas, winning the Bundesliga with Hamburg in 1979. That was Keegan’s last winner’s medal in the
game, though; and his huge achievements were, over time, to be weirdly eclipsed
by incidents arising from his determined, passionate temperament – the same one
that had driven him to singular success.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
On August 10 1974 champions Liverpool were led out by their recently retired
manager Bill Shankly, a show of respect to the great man. Striding along beside
them were cup holders Leeds, behind their new boss Brian Clough, who had
already been typically outspoken in his disparaging view of the Leeds brand of
football. It soon became apparent that the Leeds players hadn’t cared for that:
having been stigmatised thus, they were about to make a great show of holding
up their bloody stigmata.</div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Kevin Keegan’s views, expressed in his 1977 memoir, were even more
radical than Clough’s: <i>‘I hated Leeds and everything they stood for.’</i> From the
moment the Charity Shield game kicked off, Revie’s team seemed to fancy a
scrap. Soon the game became one big niggle. As Johnny Giles would tell the
Guardian with relish, <i>‘Keegan was quite an emotional lad and he was in one of
his moods that day.’ </i>Giles and Billy Bremner were happy to buddy up for a sort
of tag-team toughness: together they helped to make Keegan’s afternoon a
misery, and Keegan felt he was getting no help from the ref.</div>
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Around the hour mark, incensed, Keegan pursued a loose ball and went
through Bremner, then hared after Giles, who felled him with a right-hook. From
the resulting free- kick the ball went up into the Liverpool half, but Keegan
went after Bremner. <i>‘I have Irish blood in me,’</i> he would write, <i>‘and sometimes
my temper rips.’</i> He and Bremner exchanged blows in front of the ref, and though
Keegan protested when they were pulled up together he surely knew he was for
the early bath. He stripped off his shirt and flung it away. Bremner copied
him, though he might have thought twice about showing his pale gut alongside
Keegan’s ripped and muscular torso. Joe Keegan was in the Liverpool changing
room to console his son, and when Bremner entered to make an apology Keegan’s
dad told him to bugger off.</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
Keegan would be made an example of – fined and banned for 11 games. In
the aftermath of the game he chose to drown his sorrows in beer then awoke
blearily to the unwelcome news that he was required to play in a testimonial for
Celtic’s Billy MacNeill on Monday night and had to get himself up to Glasgow. On
the other side that night was Kenny Dalglish, Scotland’s finest player, whose
path had crossed with Keegan’s before and would do so again.</div>
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<br /></div>
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Keegan ran into Leeds United again, famously, in 1996. He was now managing
Newcastle United, they were bidding for the league title but had let a 12-point
lead over Manchester United dwindle to nothing and were now having to chase.<span style="mso-spacerun: yes;"> </span>Man Utd made hard work of beating a Leeds
side reduced to 10 men, after which Alex Ferguson resorted to his familiar
psychological tricks, suggesting that Leeds had tried extra hard against his
team but would likely roll over when they next met Newcastle. </div>
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Keegan’s team eked out a win over Leeds: they were three points behind
Man Utd, two games left apiece. Sky was covering every game in the run-in and
it was a tolerably satisfied Keegan who left the Newcastle changing room to do
his duty before Sky cameras over a relay to studio presenters Richard Keys and
Andy Gray. Keegan set forth cheerily enough. But soon there was a reference to
‘slanderous’ remarks by Ferguson – and Keegan was not having this marked down
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He spilled his vessels live on TV, louder than he had intended on
account of wearing heavy headphones for studio relay, jabbing a finger for
unneeded emphasis: <i>‘I’'ve kept really quiet, but I’'ll tell you something – he
went down in my estimation when he said that…... I’ll tell you, you can tell
him now if you’re watching it, we’re still fighting for this title, and he’s
got to go to Middlesbrough and get something, and… and… I’ll tell you,
honestly, I will love it if we beat them. Love it.’‘'</i></div>
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It was quite a show. McDermott, having watched the broadcast in some
incredulity, reached Keegan on the phone. <i>‘Ah, sod him,’</i> said Keegan, still
seething with regard to his nemesis at Old Trafford. </div>
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Keegan could not have envisaged the extent to which his public image,
into which he had put so much graft and applied so much polish, would come to
be defined by that flailing and profitless outburst against Ferguson. No golden
goals for Liverpool or England or Hamburg, no pop records or Brut TV ads or BBC
<i>Superstars</i> heroics would be recalled with such relish in the coming internet
age as ‘I will love it if we beat them.’. And yet, for seasoned Keegan-watchers
it was nothing so unusual: the resurgence of the heart-on-his-sleeve ‘emotional
lad’, as observed so vindictively by Johnny Giles. Reputation-wise it’s a poor
return for what Keegan has done in – done for – the game. He was always his own
man, and there has been no one quite like him within football or without.</div>
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(For a more multi-stranded version of this argument, I refer you to <a href="https://www.amazon.co.uk/d/Books/Keegan-Dalglish-Richard-T-Kelly/1471154750" target="_blank">my <i>Keegan and Dalglish</i>, published today</a>.) </div>
Richard T Kellyhttp://www.blogger.com/profile/08826512678809037716noreply@blogger.com0