My Christmas Alphabet

At my age Christmas is mostly a time for memories and reflection. I’m no longer allowed to smoke or drink so I don’t go to parties or socialize much —  in fact because of mobility problems I don’t actually do much at all. It’s ok. I’m still alive, when so many friends and members of my family aren’t. Alive is better.

Antarctica:  You can keep your Polar Express and fantasies of Santa Claus living at the North Pole. It’s the southern continent that fascinates me, as it has done ever since I was told as a child that I was related to the great explorer Shackleton. I’ve never managed to work out how this could possibly be true but I don’t care, the spell was cast long ago. I’ve read just about every book on Shackleton and the other early explorers (Scott was a real bungler, wasn’t he?) and Antarctica has become my great imaginary place — no matter that it’s a real place because I shall never be able to go there. It haunts my dreams much more than Atlantis or Middle Earth or Barsoom ever did, and in quiet moments I’m liable to drift away and find myself stranded on the sea-ice or slogging across the Antarctic plateau with Shackleton. Do you remember T.S. Eliot’s  question ‘who is the third who walks always beside you?’ in The Waste Land? Well, it’s me.

The Apartment:  Feelgood Christmas movies hold little appeal for this old sourpuss. I’ve already explained in an earlier blog piece why I hate It’s a Wonderful Life and while The Apartment (1960) isn’t exactly a Christmas film the action takes place over Christmas and New Year so it qualifies. I’m a big fan of writer/director Billy Wilder who gave us amongst many other fabulous things Sunset Boulevard and Some Like It Hot, and with Jack Lemmon and Shirley MacLaine on board to interpret Wilder and Diamond’s cynical script how could it fail. One critic wrote “The Apartment dares to show what can happen when someone doesn’t have the opportunity to celebrate Christmas with anyone. And what’s more, there’s no connotation of shame or judgement. It’s matter of fact and fits perfectly within the story. It’s another example of how brilliantly relatable the movie is.” I have it on DVD and may well give it another spin in the days to come.

The Beatles’ Christmas Show sold out the Finsbury Park Astoria in 1963,

The Beatles:  To raise some money for Christmas when I was 16-18 I got temporary jobs as a relief postman in Southport, where the family lived at the time. I did this for three years running. Some of the money did go on Christmas presents, but the main point of it was to have a little trip to London in the gap between Christmas and New Year where I would meet up with my school-friend Chris and where we would have a fine time free of school and parental supervision with some money in our pockets to squander.  Chris had a family friend called Evelyn who put us up for free in her house near Finsbury Park — which must have been very near where I live now though I’ve long since lost her address — and London was like a wonderland. To get to the centre we had to go down the tunnels to the tube station — a new experience for me then — and found them swarming with excited kids heading for the Astoria Theatre opposite, where The Beatles were appearing. This was thrilling and it was good to know that they were nearby, but I’d already seen them when they’d played a week in Southport the previous summer, and I was now into jazz. See Marian Montgomery below for more about this. [The Astoria later became The Rainbow, where many fine rock concerts took place [Jimi Hendrix, Bob Marley, Steely Dan, Chuck Berry, Frank Zappa … it was great having it practically on one’s doorstep], but then it was taken over by some religious organization who closed its doors to outsiders.]

bread sauce:  Why? Why?

Carol aged 14

Carol’s diaries:  One of this year’s pleasures, albeit a rather bittersweet one, has been reading my late sister’s diaries which came to light after her husband’s death last year. She died in 1993 aged 42 after a long battle with cancer. The two diaries are for 1964 and 1965 when we lived in Southport and she was immersing herself in life at her boarding school just as I was just leaving mine. Over the years we had grown close and I still miss her very much. I won’t publish any extracts from the diaries here as I feel that they should remain private to the family, but reading them has reminded me of many little incidents and told me some things I didn’t know, and I think it’s ok to share a few of them.

Chanel No. 5:  My mum was very difficult to buy presents for. This might have been because she basically held the family purse-strings and if she wanted or needed anything for herself that fell within the modest price-range of me and Carol she simply bought it, and if we asked her for suggestions she’d just say “Oh don’t bother about me.” Unhelpful. The rest of us were only too willing to make our wishes known. Over the years we learned that there were various things that Mum did quite like as gifts — chocolate brazil nuts, for instance, and a small bottle of her favourite scent didn’t go amiss — but the elements of surprise and genuine delight were lacking. We did try. I recall that one Christmas I bought her a set of cake tins in very mod colours, but she just said “Oh, kitchen things” and put them away in a cupboard. In retrospect I can see why kitchen things might not count as proper gifts — but what did? I still don’t know, and now of course it’s much too late.

‘Chantilly Lace’:  A little surprise in my sister’s diaries has been to learn that when I wasn’t around she and her friends would sneak into my room and listen to records on my souped-up player. Their favourite seems to have been this oldie by the Big Bopper (J.P.Richardson, who had died in the 1959 plane crash that also killed Buddy Holly). If I’d known about the girls’ duplicity at the time I’d have been quite annoyed but now I just smile to myself. Listen to the record here.

Chesterton, G.K.:  One of the first titles I published when I launched my own firm was The Spirit of Christmas, a selection of Chesterton’s thoughts on the subject. I’d been a fan of Chesterton’s writing for a good many years and built up a sizeable collection of his books, but it was my mother’s idea to make a selection of his writings about Christmas which she thought might make a pleasant little volume that would be a good gift. OK, I said, let’s do it. The resulting book did well, getting good reviews and a rights sale to a US publisher and we wanted to do more Chesterton, but alas Mum developed Alzheimer’s disease and I had to take over as Editor using the royalties from the resulting books to subsidize the cost of the care homes where she had to live for the rest of her life. It was a terribly sad end for such a bright, capable, largely selfless woman, and spending Christmas Day in a care home spoonfeeding dinner to a mother who no longer recognizes you, as I did for seven years, is something that can break your heart.

Christmas pudding:  In the first entry in this blog I neglected to mention Shackleton’s Christmas pudding, which was the main reason for including him in the first place. Forgive me. I’m old. I forget things too. Anyway, on his first trip to the Antarctic as a member of Scott’s Discovery expedition in 1902 Shackleton was chosen to accompany Scott and Wilson in their attempt to cross the Ross ice shelf and go further south than anyone had gone before.

Earnest Shackleton (left) and members of Scott’s later expedition showing (in a posed photo taken before they set off) how to cook in a small tent. Photos by Hubert Ponting.

It was a gruelling journey but on Christmas day, when things were getting really tough with the men showing signs of frostbite and scurvy, Shackleton surprised his tent-mates by producing a Christmas pudding that he had hidden:  “The other two chaps did not know about the pudding,” he wrote later. “It only weighed six oz. And I had stowed it away in my socks (clean ones) in my sleeping bag, with a little piece of holly. It was a glorious surprise to them, that plum pudding, when I produced it.”

Charles Dickens:  Said to have invented the modern Christmas in A Christmas Carol (1843). If you find a copy of the first edition in your Christmas stocking you’ll  be able to spend your next few Chistmasses sunning yourself in the Bahamas, and to hell with snow and plum puddings.

dwarves:   Through books, movies, tv, circuses and pantomimes dwarves (or should it be dwarfs?) are inextricably linked with Christmas, with roots going back to ancient mythology. In modern times Walt Disney had much to do with popularizing this with his animated movie Snow White and the Seven Dwarfs (1937) and in the same year The Hobbit by J.R.R.Tolkien was published. Two more differing notions of dwarves could scarcely be imagined,

A Disney dwarf (left) and one inspired by Tolkien.

and while Snow White remains popular no-one could have predicted how Tolkien’s vision would come to influence and eventually dominate the field of Fantasy. I once set myself the task of listing the names of all the famous dwarves in fiction — I was stuck in a very boring job — starting with Tolkien, who named dozens of them. This was in the late 1970s when post-Tolkien fantasy fiction was becoming enormously popular, much of it in the vein of what became known as ‘Sword and Sorcery’ featuring a hero with a big sword, magical powers and, very often, a dwarfish sidekick, but cataloguing their names soon became an impossible, never-ending task. I liked some of these dwarves — Moonglum (a creation of Michael Moorcock) and the Gray Mouser (from Fritz Leiber) were two favourites — but the whole thing soon became very formulaic and I wasn’t too sorry to abandon it.

Emanations:  2023 has seen more of my work in print thanks to Carter Kaplan, who had published my piece about my involvement with the magazine New Worlds in the previous issue of Emanations. Encouraged, I did some computer graphics and submitted a dozen of them to Carter thinking that he might use a couple of them, but to my surprise he has published all of them as a portfolio. Very flattering.

Emanations Zen. On the left is the front cover art by

four-engined bomber: Dad was useless at keeping a secret. As a boy I was very keen on assembling plastic model kits, mostly the ones made by Airfix, and on many Saturday mornings my friend Michael and I would catch the bus that took us to the model shop in the centre of Leeds and each buy another kit to add to our collection of planes, vintage cars and even galleons (doing the rigging was tricky), so it was easy to buy a present for me. Another kit would be just fine. As Christmas 1957 approached Dad started casually mentioning a four-engined bomber which might or might not be coming my way (“Behave yourself or you won’t get that four-engined bomber.”), which was puzzling as we were very familiar with the Airfix range and none of their basic kits seemed to fit this description.

Well, Dad had surpassed himself with the newest, biggest and best kit to be had anywhere, a Boeing B-29 Superfortress which was indeed a bomber with four engines, and when Michael, whose family was much better off then we were, came round on Christmas morning proudly bearing his identical Superfortress kit to show me he was nice enough to reveal hardly a trace of disappointment to find that I’d got one too.

game chips:  When I was young and inexperienced in the ways of the world I found myself ordering a meal in a hunting-lodge type of restaurant — can’t remember where it was or why on earth I was in such a place, but seeing ‘game chips’ on the menu I thought they sounded good and ordered them along with the steak, chops or whatever it was I was having. A treat in store, I thought, but what a disappointment they turned out to be: just a handful of perfectly ordinary potato crisps of the sort sold by Messrs Walker or Golden Wonder, and only five or six of them at that. You might think I’d learned my lesson but no, only last Christmas as I got over my bout of hypothermia (see below) I was hungry and decided to order a meal from a nearby gastro-pub: a gammon steak with various sides and you guessed it. They couldn’t still be dishing up crisps as game chips in these places could they, but they were. Restaurateurs! If you advertise game chips you must make them yourself on the premises. Potato crisps won’t do.

Gilbert & Sullivan:  My dad was very fond of music, especially the lighter sorts of classical music: Mozart and Rossini, for instance, but not much Beethoven and definitely no Wagner. He was a great fan of Gilbert & Sullivan and aimed to get every one of their works on record. There are more of them than you might think and it often fell to me as a keen record buyer on my own account to find some of G&S’s more obscure works for him as Christmas or birthday presents, e.g. Ruddigore and Princess Ida, which I dutifully did for many years. When he died his collection passed to me, and I haven’t yet had the heart to get rid of them. I’ve just bought a new record player, however, so maybe I’ll give some of them one last spin before they go to the charity shop. I’ve had a soft spot for The Mikado since Dad took me to see a D’Oyly Carte production of it in Leeds when I was small, so that might be the one I’ll play first.

hypothermia:  I got things badly wrong last Christmas. I’d been in London for several months and at the last minute I decided to drive down to Broadstone for the holiday, assuming that the house there would be pretty much the same as I’d left it. It wasn’t. Powered through a prepayment meter, because of standing charges being repeatedly deducted the credit had run out, the electricity had been cut off and the place was freezing cold and damp. Being Christmas the shops with paypoints where the meter could be topped up were closed and the neighbours were away, so I had to cope as best I could in the cold and dark. I found a couple of candles, set them up them next to my chair — the bed upstairs was dank — and settled down to try and sleep, but as the cold bit I couldn’t get off and I just tried to get some warmth from the candles. This didn’t work and I think that night was the longest and worst of my life, daylight brought little relief, and the next night was no better. In retrospect I can see that there are things that I might have done: I could have got back into the car and run the engine all night, or driven away to try and find a hotel room, but I now know that intense cold affects the judgement and saps the will, and I just sat and suffered, getting colder and colder. I began to see why Captain Scott, stranded in his tent in a blizzard without food or fuel only a dozen miles from safety, just gave up and died. And hypothermia, when the cold gets into your bones, hurts. It continued to hurt for a while longer when the shops opened up again and I was able to start heating the house, which took several days. As I write this on Christmas Eve 2023 I’ve made sure that the electricity meter is well topped up.

ice skating:  The best Christmas holiday when I was a teenager was during the winter of 1962-3, known as The Big Freeze, which was one of the coldest periods on record in the United Kingdom. Our house in Bromborough (on the Wirral Peninsula) was heated by a roaring coal fire in the back parlour, and if the bedrooms remained unheated and ice formed on the inside of the windows overnight that didn’t seem to matter much in those days. We huddled. The news on tv showed snowy scenes all over the country with people snowed in and vehicles abandoned, and when a letter arrived from my school saying that the start of term would have to be delayed because supplies couldn’t get through I was overjoyed. I and my friend Brian decided to check out Raby Mere, a favourite haunt of ours, to see if it had frozen over, and we found a magical scene awaiting us.

Ice-skating in 1865 by J.P. Granger (detail)

The Mere was usually more or less deserted but this morning it was crowded with skaters and sliders and kids having snowball fights, and many more had wrapped themselves up warm and turned out to watch the fun. Where on earth had they come from, all these people with ice skates just waiting for weather like this? Although I’d been a keen roller-skater when I was a bit younger I’d never ice-skated so Brian and I contented ourselves with joining in the creation of a huge slide which stretched right across the Mere. I haven’t been able to find a photo of this but, believe me, it really was like a scene from a Christmas card. Eventually the thaw came, of course, and I had to go back to school, boo chizz.

Ilford  Sportsman:  My parents were pretty generous present-givers. When I wanted a racing bike they got me one. A duffel coat to keep me warm in the winter? No problem. And when I asked for a decent camera they got me an Ilford Sportsman,  leather case included, and photography became a  major hobby of mine for some years to come. The one thing I wanted and didn’t get was an encyclopædia. Year after year when Christmas or my birthday came around I’d ask for an encyclopædia and couldn’t really understand why I didn’t get one. I was considered a bright kid and surely it would have been beneficial. Did they want me to remain ignorant of some things, e.g. detailed human anatomy and the Facts of Life? I’m still a bit puzzled by this. Anyway, there was no encyclopædia for Richard and that, in a nutshell, is why he remains unmarried and will never win Pointless.

Karl Jenkins – Stella NataleMakes a pleasant change from Sleigh Ride and the usual run of endlessly recycled Christmas hits.  Give this a listen here. It’s good.

Jukel:  A border collie, one of three belonging to my university friends Bernard and Kathy with whom I used to spend the Christmas/New Year holiday each year as soon as we could escape our respective families. (Christmas can be a magical time when children are involved, but spending the holiday with your parents when you’re grown up is a different matter.) I suppose I shouldn’t have had a favourite among the dogs, but Jukel was mine. The name is apparently the gypsy term for a dog. She bullied the two other (male) dogs constantly, to our great amusement, but she could also be very affectionate. This arrangement continued for many years, but Bernard and Kathy and all the dogs are dead now. So it goes.

Ray Davies of the Kinks tells it like it is.

The Kinks – ‘Father Christmas’: I liked the Kinks right from ‘You Really Got Me’ in 1964 and when I eventually moved to London was delighted to find that they were in effect our local group in nearby Hornsey and Muswell Hill. Still are. ‘Father Christmas, give us the money’ was a sentiment dear to our young hearts, ungrateful wretches that we were. I thought I was being grown-up and sophisticated by also liking ‘Santa Baby’ by slinky Eartha Kitt.

Llandudno:  We evidently had a family holiday there at Christmas in 1961, though I have no memory of it. The camera doesn’t lie, however, and the one photo surviving from this jollity shows my sister Carol competing in some sort of fancy-dress contest decked out as goodness knows what. A note on the back of the photo says that she came 2nd.

Bodlondeb Castle, incidentally, was a Methodist holiday hotel, one of a string of such establishments where we Joneses spent most of our holidays when Carol and I were young. There were a lot of communal activities in these places: outings, concerts, sports and games as well as group worship and, for the young folk, midnight feasts and budding romances. My parents first met each other at one such place in the 1930s and continued to patronize them right to the end, when cheap package holidays abroad changed people’s holiday-going habits and most of them were closed down and sold off, more’s the pity as they were wonderful if you didn’t mind the absence of booze. It wasn’t long before I too was looking for more exciting kinds of holidays, however:

Marian Montgomery:  So my pal Chris and I are schoolboys at large in London and having quite a merry time [see Beatles above]. We have smoked cigarettes openly and got served drinks in pubs without getting arrested or thrown out, we have been to the theatre (Son of Oblomov with Spike Milligan, mind-blowing), the cinema (The Longest Day, a mistake, very boring) and a strip club, and now as budding jazz fans we want to see if we can get into Ronnie Scott’s.

Ronnie Scott and Marian Montgomery (she later changed the spelling of her first name to Marion)

It’s just getting dark and the proprietor is standing at the door of his club exactly as he is in the photo. Chris and I approach him nervously, trying to look as old and mature as we can, and ask him how much it is to get in. “How much have you got?” says Ronnie. We pretend to scrabble about in our pockets and say that we can raise about two bob each. “Well, you’re in luck,” says Ronnie, “Because tonight admission is just two bob.” — a ridiculously cheap fee — and amazingly he ushers us in, but says we’ll have to sit in a dark corner. Licensing laws? I don’t know, but we’re very happy to be inside, and we haven’t been there long before I feel a hand clutching mine, a soft evidently female hand, and a soft female voice says “For god’s sake take me to the bandstand. I can’t see a damn thing.” I manage to lead her there without bumping into anything or tripping over, and as the lights go up I see that this is Miss Montgomery, the glamorous American jazz singer and the star of the show. She thanks me and I feel like a very cool dude indeed.

needle drop:  Mum’s birthday fell on 5th January — Twelfth Night, when Christmas decorations are traditionally taken down, so we waited until then before taking ours down, by which time the tree was shedding its needles all over the carpet and some serious vacuuming had to be done. By Mum, of course. For another kind of needle drop see under vinyl.

The Huddersfield Choral Society’s annual performance of Handel’s Messiah, 2022

oratorio:  Yorkshire is a very musical county, and as Christmas approaches rehearsals are taking place in churches, village halls and theatres all over the county as amateur choirs are preparing to present Handel’s Messiah yet again, though some of them hire a professional singer or two to help things along — and why not? It’s a fine, stirring piece which I’ve heard many times in such places.

pea and pie supper:  The regular conclusion of many social gatherings in my youth, as advertised in the Notices, the announcements of what would be happening in the church in the forthcoming week, e.g. “And on Wednesday at 8 o’clock the Men’s Prayer Meeting will be held in Room 3b, and this will be followed by a pea and pie supper.” My sister and I could reduce ourselves to giggles by saying “pea and pie supper” in a broad Yorkshire accent just too quietly for Dad to hear, but when we’re old enough to partake in such things ourselves, we don’t. The times they are a-changing. Visiting the parents at Christmas as an adult, however, I and Dad sometimes fancy a pea and pie supper as a sort of guilty pleasure, and there’s an excellent pie shop just around the corner …

pigs in blankets:  “UK faces Christmas without pigs in blankets amid labor shortage” — alarming newspaper headline published as I write this. Let’s hope this is resolved before the big day coz I love them and left to my own devices will cook them at any opportunity, Christmas or not, and if there are any left over after the main meal is eaten I’ve found that they are excellent in sandwiches: three or four of them between two slices of crusty white bread. I’m thinking of calling these ‘pigs in blankets in a warm cosy bed’.Sausages also loomed large in my sister’s diaries. She recorded details of practically every meal she ate and often at school and sometimes at home too it was sausages. She says that on one occasion I cooked sausage and chips for her and her friends which like so much else has gone from my memory, but it’s plausible because these were among the very few things that I could cook at that age (the others were cheese on toast and toast without cheese). I’m also very partial to cheese straws at Christmastime but I didn’t learn how to make them until many years later, relying in the meantime on Mum to provide the treats, as usual.

quail eggs:  I’ve only ever eaten these festive delicacies once, when they were served as an hors d’oeuvre at a rather posh wedding I attended. Quite tasty though very small. No ill effects.

Rupert annuals:  When I was a lad in Yorkshire each Christmas brought the latest Rupert Bear annual from my grandparents in Harrogate, and when I was deemed to have outgrown Rupert the annuals were sent to my younger sister. We both loved Rupert, and I can still read his adventures with pleasure though they’re getting hard to find these days.

Rupert annual for 1956

It wasn’t just Rupert himself that appealed. He had many friends who regularly appeared in the stories, among them

• Bill Badger
• Algy Pug
• Podgy Pig
• Edward Trunk, an elephant
• Ping Pong, magical, female Pekingese
• Freddy and Ferdy Fox, mischievous twins
• Bingo the brainy pup
• Gregory Guinea Pig
• Constable Growler
• ‘Rastus Mouse
• Tigerlily, daughter of the Chinese conjurer
• The Professor, who lived in a tower

Most of them lived in or around Nutwood, a pretty village somewhere in England, and I liked the idea that most of Rupert’s adventures took place in the surrounding woods and meadows, though he sometimes went further afield: to the South Seas, for instance, but he still got home in time for tea. I think that Nutwood was the first of the great imaginary places of my dreams.

A typical selection box

selection box:  As far back as I can remember each member of the family got one of these from Santa Jones (Dad) in their Christmas stocking, and this continued until we were well into adulthood — until his death at the age of 83, in fact. I don’t have much of a sweet tooth but each year I somehow managed to devour the entire contents of my box over the holiday period all by myself.

snowball:  A drink made by mixing Advocaat, a sort of commercially-produced egg nog, with lemonade. Dad discovered it one Christmas late in life after decades of teetotalism, and developed a taste for it. By this time he was in a lot of pain and becoming quite difficult; a snowball cheered him up and helped things along, so we didn’t discourage him.

turkey:  Dad wouldn’t eat it, or any other form of poultry. It wasn’t that he was allergic to it. He could eat it when he absolutely had to, e.g. at a wedding or funeral where he was presiding and it would have been very rude not to (have I mentioned that he was a clergyman?). He simply hated it. This made things awkward for Mum at Christmas as there was no way she would let the rest of the family go without a proper turkey dinner with all the trimmings (as they say), so she cooked two dinners: steak for Dad and turkey etc. for the rest of us. She juggled things very well and pretty cheerfully in the circumstances, I must say.

The only raffle that I’ve ever won had a turkey as the prize — a live one, available for collection from a nearby farm on Christmas Eve … I’ll save the story of that fiasco for another time.

Upstart Crow:  This year my Christmas present to myself — or one of them, since I have to look after myself these days — is the boxed set of this Shakesperian tv comedy series starring David Mitchell with a fine supporting cast, notably Gemma Whelan as Kate, and including all the Christmas specials. Their two-hander made under the constraints of lockdown was brilliant.  Script by Ben Elton.

vinyl:  People keep telling me that it’s making a comeback, but for some of of us it’s never been away. We don’t mind the slight hissing sound made when the needle drops and engages with the groove on the record, in fact we rather like it and miss it when playing CDs or listening to Spotify or whatever.

worst Christmas present ever:  And the wooden spoon goes to … a set of three wooden spoons in fact, which I actually received one year from a family member, a notorious skinflint. They were very poor spoons too, looking as though they’d been crudely carved from bits of an old orange box with a blunt penknife, and I knew that he’d bought them from the local market, price 50p. On the plus side, all these years later I still use a couple of them for stirring purposes when I make soup.

Xbox:  I don’t go in for any form of gaming so have no need for this or other such devicea, which I’m told are popular with some people at Christmas. I don’t feel I’m missing out on anything, and it saves me quite a few quid. X is also the new name for what used to be called Twitter and I’ve never been interested in that either.

Yeats, W.B.:  ‘The Second Coming’

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Illustration for ‘The Second Coming’ by Dmitri Matheny

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Written in 1919, seems more pertinent than ever at the end of 2023 doesn’t it.

Yule log?  Nah.

Zimtsterne:  Traditional German star-shaped Christmas cookies flavored with cinnamon. As one authority puts it, “The holidays simply aren’t the same without Zimtsterne!”Here’s a recipe.

Happy munching!

More Words

The autobiography of a once-famous British comedian and game-show host isn’t perhaps an obvious place to find oneself wrong-footed by obscure words and phrases but Bob Monkhouse’s contains a bunch which had me scurrying to the dictionary. Here in no particular order are some of them, to which I’ve appended definitions for any readers who may be as ignorant as I recently was:

nimeity (noun): an excess, redundancy, more than what is required.

inessive (grammatical case): indicates the state of being in or inside a location.

poco curante (adjective, sometimes written as a single word): nonchalant, relaxed in manner, aloof, apathetic, blasé, breezy.

autarky (noun): economic independence or self-sufficiency. “‘Autarky’ [says one authority] is invariably used pejoratively to mean self‐government in a manner condemned by the speaker. A regime is autarkic if it tries to be self‐sufficient by cutting off trade and intercourse with the rest of the world.”

catechumen (singular noun): in theology, a person who receives instruction in the Christian religion in order to be baptized; (loosely) a person learning the elementary facts, principles, etc. of any subject.

cantrip (noun): a magical spell of any kind, a mischievous or playful act, a trick.

tardive dyskinesia (noun phrase): a medical condition where the face, body or both make sudden, irregular movements which you cannot control.

Un tant soit peu (idiomatic French phrase): a little bit. (Monkhouse has this as ‘tant soi peu,’ which may be a printer’s or publisher’s error)

fulgently (adverb): bright, brightly, luminously, dazzlingly, radiantly, glowingly, incandescently, brilliantly.

ataraxy (noun): a state of serene calmness.

pithicoid (adjective): belonging or pertaining to the genus Pithecis and related genera, including the saki monkeys; (loosely) ape-like, monkey-like.

miasmic (adjective): characterized by an unpleasant smell, noxious, oppressive.

proceleusmatic (adjective): inciting, animating, encouraging, inspiring.

To see how Monkhouse deploys these words you’ll have to read his 1993 book for yourself — and it’s worth finding a copy if you can because it’s an extraordinary piece of work. To begin with, it’s a whole lot more honest than most such efforts. I’ve read quite a few of them and they tend to follow a pattern. First comes the family background with stiffly-posed photos of grandma and grandpa and blurry snaps of childhood holidays on beaches and on outings to the countryside. Then we have the early struggles in showbiz with attendant failures and disasters, which is always the most entertaining part of the book especially if the disasters are amusing in retrospect, and finally comes Success — and now the blinds tend to be drawn to protect the privacy of current spouses and children, and the book turns into a sort of c.v. with often-boastful accounts of hit shows and awards won accompanied by photographs of the star with their famous mates, being presented to royalty etc. People who seek fame and fortune on the stage or screen don’t usually do so because they want to hide their light under a bushel.

Monkhouse’s story broadly follows the pattern. His childhood was worse than most and his anecdotes are funnier, but his story is most interesting for its  psychological self-analysis. When he was young Monkhouse was a bit of a shit… correction: he was a lot of a shit, lying, cheating, screwing around and so forth …..

“We are many of us foxes in youth [he writes], initially loyal only to self. We must be taught humility, consideration for others, the constant business of fair exchange, the development of such innate human qualities as modesty, honesty and fidelity. It’s the last of these, faithfulness to family and colleagues, allegiance to those who require it of me, that I’ve had the greatest difficulty in cultivating and which has consequently become as paramount to me as the display of his sense of humour to the person who has none. I had to invent, or perhaps manufacture, my own scruples. They were never built in when I was originally delivered. […] I have been so grateful to discover that, as one grows older, artificially assumed characteristics become real.”

By a sort of effort of will, and with the support of his second wife Jacqui, Monkhouse seems over the years to have turned himself into reasonably decent person — though of course we have only his word for it. Still, all credit to him for trying. So many people don’t.

I originally read the book because I was very interested in comedy and wordplay, though I never found Monkhouse laugh-out-loud funny. Clever, yes, but back in the day I preferred Benny Hill. I liked Monkhouse’s love of words, however, for as he himself put it:

“The English language is an adventure playground with a treasure hunt, full of puzzles to solve and silly meanings to be found.”

Indeed it is.

  • P.S. Monkhouse’s follow-up volume (Over the Limit, 1998) is less erudite, though I did notice the words squamulose and peripeteia lurking therein. There are more good showbiz anecdotes but rather too many descriptions of wining and dining in expensive places which, as with sex, is more fun to do oneself than to read about other people enjoying.

 

Irritants #1: John Bratby

Here’s fun! See if you can identify these famous people who sat for the painter John Bratby:

Starting with the easy one in the top left-hand corner and working across and down to the bottom right I’ve placed known and unknown subjects alternately, with the solutions to the known ones at the foot of the page. With the others your guess is as good as mine, and we’ll see in a moment why the artist might have chosen not to identify some of his subjects  — but why is this artist a particular irritant to me?

Well, for nearly ten  years I worked as an editor for John Murray (Publishers) Ltd, an old and rather quaint firm in the heart of posh Mayfair whose original claim to fame had been to publish the works of Lord Byron. The main room on the first floor was like a sort of shrine to Byron with a large oil painting of the poet on the wall , a marble bust of him over there, a glass case containing one of his shirts over here, and between them the very fireplace in which Byron’s scurrilous autobiography had been consigned to the flames, to the lasting shame of the later Murrays.  The firm had published other distinguished writers since Byron’s day, of course, and at some point had commissioned portraits of some of the living ones from John Bratby.

I had become aware of his work when I was at school and Bratby was featured in the new colour supplements as the founder of the ‘kitchen sink’ school of art with paintings like this one:

John Bratby: ‘Kitchen’ 1965

Kitchen sink realism was a movement in which artists used everyday objects like dustbins and beer bottles as subjects of their works, which are often thickly-laden portraits or paintings. It began in the early 1950s and has been considered an aspect of the ‘Angry Young Men’ movement… Bratby often painted with bright colours, capturing his middle-class family’s daily lives. The faces of his subjects often appeared desperate and unsightly. Bratby painted several kitchen subjects, often turning practical utensils such as sieves and spoons into semi-abstract shapes. He also painted bathrooms, and made three paintings of toilets. [–this paragraph is adapted from the Wikipedia entry[

Time passed. Fashions in art changed as in everything else, and Bratby found that he was no longer the enfant terrible of the British scene. He needed new outlets and new ways of earning money, and hit upon the idea of painting people’s portraits — but he didn’t hang about waiting for commissions; he wrote to possible subjects telling them that he was preparing an exhibition of portraits of Notable Figures of Our Time (or something like that) and would they be willing to sit for him? No charge, and it wouldn’t take more than an hour or two. Many of them rose to the bait, a sitting would be arranged and a portrait speedily done, and when it was done Bratby shrewdly and correctly judged that many of the sitters would wish to buy the finished picture for themselves, and many of them did. I have read in several autobiographies how flattered the writer was to be selected for such an honour and how proud they subsequently were to have an original Bratby hanging in a place of honour over the fireplace. There is no limit to the vanity of some people, as Bratby knew very well judging by the very large number of self=portraits he painted.

How Bratby came to paint the Murray authors I don’t know, and the finished pictures weren’t allowed in the Byron room but hung on the walls of the stairwell. No.50 Albemarle Street is a tall, narrow building and the department I worked in was right at the top, so in the years that I was there I went up and down those stairs many, many times, and there they always were: Sir John Betjeman, Sir Kenneth Clark, Dame Freya Stark, Jock Murray and several others. These paintings were executed in Bratby’s sketchiest, blobbiest manner, recognizeable only if you knew in advance what the subject looked like; if not, they could have been rorschach tests in which you might or might not discern some sort of pattern or likeness. I like to see some evidence of skill or technique in art, and I hated them.

Some years after I’d left to start my own company Murray’s was taken over by Hachette and now survives only as an imprint within that much larger international company. The house in Albemarle Street is still there, gifted  to the National Trust I think, with the Byron room opened up occasionally for launch parties. I wonder whether the Bratbys are still there on the stairs, but I never want to see them again.

KEY TO THE PICTURE GALLERY

Top row, left to right: Michael Caine, unnamed female celebrity, Ken Dodd, unnamed female celebrity

Middle row, left to right: Michael Palin, female celebrity [possibly Noele Gordon]. Richard Briers, unnamed male celebrity [Sean Connery? Jeremy Irons?]

Bottom row, left to right: P.D. James. unnamed male celebrity, The [late] Queen Mother at the races, portrait of an unnamed man [Francis Bacon?]

I’d guess btw that the reason why some of these portraits are unnamed is that they are of sitters who declined to buy their own portraits, and that Bratby certainly wasn’t going to give them any free publicity. He was a pugnatious character.

More Jottings

Arachibutyrophobia is the fear of getting peanut butter stuck to the roof of your mouth.

Babies:  It’s said that every new-born baby looks like Winston Churchill, and recent arrivals tend to prove that this is indeed so. Luckily most of them soon grow out of it.

Banzai!  I wrote a light-hearted bit about Japan in an earlier Jottings which set me thinking in a more serious vein. I don’t consider myself to be in any way racist, but in comics and movies when I was a kid the Japs were the enemy. We’d all seen The Bridge on the River Kwai (1957), set in a Japanese prison camp in Burma where the prisoners were treated very cruelly, while at school some of my classmates were keen on war comics which bore names like Action! and Commando! and often featured Japanese pilots who yelled “Banzai!” as their Kamikaze planes flew to their doom. Pretty soon these same boys were yelling “Banzai!” as they attacked each other (and me) with pillows after lights out. There were some nasty books circulating too dealing in rather too much detail with Japanese war atrocities, such as The Camp on Blood Island and The Knights of Bushido. These things revolted me but they were inescapable, yet as the years went by and as the dust of Nagasaki and Hiroshima settled our perception of the Japanese slowly changed, and by the 1980s my company was trading with Japanese publishers very happily and for some years now I’ve been driving Japanese cars, but though It’s probably unworthy of me I can’t help wondering where all the cruelty went. In peacetime did it just melt away, never to be seen or mentioned again? Perhaps I’m wrong even to mention it here.

Humphrey Lyttelton

Deafness, partial:  “I have one curious trait which I believe to be inherited from my father … Whenever ten or more people are gathered together in one room, chattering away like broiler-fowl at feeding-time, I go deaf. It is as if the input channels of my ears become overloaded and automatically cut out as a precaution against short-circuiting and bursting into flames. For me, social convocations for drinks or meals turn, when warmed up and under way, into surrealistic happenings in which lips move, tongues wag, eyebrows plunge and soar but nothing that could be remotely described as human speech reaches me.” — Humphrey Lyttelton from Last Chorus: an autobiographical medley (2009)  I almost cheered when I read this, for I suffer from exactly the same ailment and had always thought it was a weird thing peculiar to me but to find that Humph, a jazz musician and popular radio host, had it too and lived a very happy and successful life despite it was heartening. When I was younger and went out socializing a lot it was a real handicap in the chatting-up stakes — I was the original guy you’d always find in the kitchen at parties — but these days I don’t go to parties and it’s no problem at all.

Diana: the Musical:  The recent kerfuffle over Prince Harry’s book Spare reminds me of a couplet from this bizarre musical work when Diana looks at her newborn baby and sings “Harry, my ginger-haired son / You’ll always be second to none.” As a prediction this was way off the mark, of course, and the show contained many other cherishable lines, e.g.

Jeanna de Waal as Diana and Roe Hartramp as Charles

● Some paparazzi chasing Diana: ”Better than a Guinness, better than a wank / Snap a few pics, it’s money in the bank.”
● AIDS patient to Diana: “I may be unwell, but I’m handsome as hell.”
● Charles angry at Diana’s dance routine with Wayne Sleep: “How about for a start / Don’t act like a TART.”
● Diana, bored at a cello recital by Rostropovich: “The Russian plays on and on / Like an endless telethon / How I wish he were Elton John!”
● Diana at a fashionable party: “Nights like this, I envy the poor / Their parties can’t possibly be such a bore.”

The original stage production was much delayed by Covid and was trounced by the critics when it finally did appear (in The New York Times Jesse Green wrote, “If you care about Diana as a human being, or dignity as a concept, you will find this treatment of her life both aesthetically and morally mortifying.”) but it has been filmed for Netflix and many clips from it can be found on YouTube.

Screenshot from Diana: the Musical

There’s a particularly good (i.e. bad) one here, and a chunk of the soundtrack here which amongst other things gives us the word fruffles.

Earworm:  I got this one — an earworm, as I’m sure you know, is one of those annoying tunes that gets into your brain and won’t go away — on a visit to New York in 1986 when I was in a taxi taking me from one appointment to the next, and a record came on the radio. I heard only snatch of it, a high-pitched voice singing “ooh-ooh baby blue” or something like that, and I didn’t hear who was singing it or the title of the song. But it stuck in my mind and has remained stuck there ever since, damn it. I tried quite hard to identify it, looking at the US charts for the period to see what records might have been hits there at the time, and even singing the bit I remembered to friends who knew more about music than I did. No luck with any of that. Had I got it wrong? Had the high-pitched voice been singing “ooh-ooh Betty Boo” or “Dicky Doo” or something similar? Eventually I gave up the search, but the earworm remained. Imagine my surprise, then, when idly flicking around YouTube the other day I came across a video called Two-Hit Wonders of the 1970s and there it was! Long story short: it had been a a big hit in the USA and elsewhere in 1975 — the NY radio station must have been playing it as a golden oldie — but was virtually unknown in the UK, and it was ‘Jackie Blue’ by the Ozark Mountain Daredevils, a group hitherto unknown to me. The high-pitched voice turned out to belong to the drummer, a hairy fellow who also wrote it. It took me 35 years to identify the thing, and then I did so only by accident. Anyway, I downloaded the track and now play it two or three times day in the hope of getting sick of it and banishing the earworm forever, but at the moment I still like it.

If you want to risk hearing it and getting the earworm yourself it can be found here.

More family stuff:  One of my ongoing projects is to find and archive family photographs to get them all into decent-quality digital form, and amongst my late mother’s things I found a folder of very old pictures which I’m scanning and retouching one by one: a voyage of discovery as I’d never seen many of them before. Here’s one of my mother’s family, the Smiths, from the 1920s:

On the left is my Nana who I claim as the original Betty of Bettys Café fame — she was never very keen on smiling for the camera — then my mother, then my grandfather J.J. who ran Bettys for many years but died young, and finally Uncle Ray. It doesn’t do to dwell too much in the past, however, and I’m glad to say that my family in New Zealand are keeping me plentifully supplied with photos of the new generation:

That’s Mia at the back, then (from the left) Isabelle, Finn and Madeleyne: one great-nephew and three great-nieces. Can these beautiful kids really be related to ugly old me?

Language note:  In recent months a lot of americanisms have crept into the speech of our politicians and public speakers: drilling down, doubling down, ramping up, etc., but the one that really irks me is the use of likely instead of probably, as in “It will likely rain tomorrow.” This is now becoming widespread: in today’s newspaper former British Army Colonel Philip Ingram is quoted as saying “Western response would likely be the conventional destruction of every Russian piece of kit inside geographic Ukraine.”  Col. Ingram really ought to know better.

Lewis, C.S.:  My father knew him personally and would send me copies of his books when I was a teenager away at boarding school, including these Pan editions which are still the best cover designs I’ve seen for these titles. (Pan retitled Perelandra as Voyage to Venus.)  I have them still. Still good.

Meat, red:  “I caused looks of utter horror on Masterchef when I said I didn’t go along with the fashion for serving pink lamb. ‘I like mine well-done and crispy-skinned. Good old falling-apart lamb, like Granny used to cook,’ I said. ‘Why do we have to copy the French?’ Needless to say, I wasn’t invited back.” —June Whitfield, from her autobiography.

June Whitfield in Absolutely Fabulous

I like mine well-done and crispy-skinned too. When I bought my first house in the mid-1970s and started to learn how to cook properly — or as properly as it ever got — this coincided with a sudden vogue amongst my generation for serving meat semi-raw. “It’s much more tasty this way,” said friends serving me slices of nearly raw meat slopping about in tepid blood, and some of them sneered at me for not following this new fashion. Well, over the years I have eaten meat prepared in many different ways and stubbornly I still prefer it well-done, and it was good to find sensible person like Dame June agreeing with me.

Monopoly:  Interested to see that there’s now a Harrogate edition which has Bettys Cafe as one of its stops. Regular readers if this blog will know of my family’s early links to Bettys.

New Zealanders eat more ice cream per capita than any other nation. Fact.

Pronunciation:  When I was research student long ago my father used to annoy the hell out of me by pronouncing it ree-search (“How’s your ree-search going?”) at a time when everyone else pronounced it with two equal syllables as in reverse or rehearse. Well, times change, and now ree-search seems to have become standard. I don’t like it, but even worse is the now almost universal pronunciation of kilometre with the emphasis on the middle syllable: kill-OM-eter. It makes no sense, as we don’t say kill-OLL-eter for kilolitre or cen-TIM-eter, but I’m afraid it’s here to stay. I blame Top Gear for this.  Grrrrr.

The colon, from Punctuation Personified by Mr. Stops (1824)

Punctuation:  “Kipling, of course, found a new use for the colon.” –from Tavern Talk by Collin Brooks (1950). Did he, indeed? Being very interested in such matters — and isn’t that ‘of course’ annoying? — I had a look through Kipling’s works to see if I could spot this so-called new use, but the only unusual use of the colon that I could see occurred at end of the first two stanzas in Kipling’s famous poem ‘If’, though in some editions it’s been replaced by a semicolon, no doubt by editors who thought they knew better than the author. If this is what Brooks means by ‘a new use’ it seems hardly worth mentioning — but perhaps I’ve missed something.
Tavern Talk has a bit more to say about punctuation, however: “Bart Kennedy, that almost forgotten man, thought he could make a new use of the full point. For a while his technique was effective, but it grew tedious. Parody eventually killed it.” When I first read this in the 1970s I could find out nothing about Bart Kennedy, but now we can google him and get the basic facts, which are that he was … well, here‘s a link to his Wikepedia entry. Some of his books have been published online too, and we can see his innovative use of the full point in a succession of short often verbless sentences:

from Slavery, pictures from the depths (1905)

Other writers have since employed this sort of staccato style, e,g, Peter Tinniswood in his later works like The Stirk of Stirk, and no doubt many other too.
Finally, there’s a punctuation mark used to signify irony or sarcasm that looks like a backwards question mark [⸮] but since it doesn’t feature in most computer fonts it isn’t widely used,

Rhyming slang:  In an earlier Jottings I made the suggestion that scarper, meaning run away, leave, scram, might be rhyming slang from Scapa Flow (=go), but my friend Bob was quick to point out that this was not so, and that it derives from the Italian ‘scappare’ – to escape. This has been in use since the 17th century. Swell’s Night Guide, 1846 includes the quotation:  “He must hook it before ‘day-light does appear’, and then scarper by the back door.”

Saddest book title: Leftover Life to Kill by Caitlin Thomas (Dylan’s widow).

Saucy books of the ‘sixties:  I belong to various online groups devoted to the celebration of vintage paperbacks, of which I possess hundreds, where members upload pictures of the books in their collections and of their latest finds. Most of these books are from the genres of thrillers and science fiction with splendidly lurid covers, and occasionally one of these brings back sharp memories, e.g. The Passion Flower Hotel which was considered a very naughty book in the early 1960s. It was read avidly by my sister Carol and the other girls at her boarding school where it had to be hidden from the teachers and, at home, from parents too. Tee hee. I wasn’t averse to a bit of sleaze myself and remember a few books that I read at the time in search of cheap thrills. One was The Ginger Man by J.P. Donleavy, which I enjoyed and actually admired as a novel, but sleazier by far was The Carpetbaggers. Does anyone read Harold Robbins these days? I doubt it.

Wasabi:  Most wasabi paste isn’t real wasabi, which is expensive.

X-Ray Specs:  I knew that they would be a con, and that they wouldn’t really enable me to see through women’s  clothes to their naked bodies — something I was very keen to see when I was 13 or so — and when I finally got hold of a pair (of x-ray specs, not yet naked women) by a most circuitous route of course they didn’t.

Zoom:  Over the Christmas/New Year holiday we planned a Zoom session between England and New Zealand but I was in such a dismal state with cold and general low spirits that I knew I wouldn’t be able to give a good account of myself — maybe we’ll try again at Easter — so to end on a more upbeat note here‘s a record that I used to have on a compilation tape and always liked.

Uncle

Talking of uncles, I was once staying overnight in a cheap hotel and having checked in at midday and done the business I was there to do I realized that I had a long solitary evening ahead and had brought nothing to read. The local shops had nothing resembling a bookshop or even a decent newsagents but there was an Oxfam shop, so I had a look at what reading matter might be on offer there.

It wasn’t promising: the usual Jeffrey Archers, paperbacks by people I’d never heard of and knew I wouldn’t like, tattered gardening manuals etc. so in desparation I had a look at the children’s section and a book called Uncle caught my eye. I’d forgotten to bring my specs with me and the author’s name seemed to my blurred vision to be J.B. Morton who I knew and loved as Beachcomber, the humorous columnist for The Daily Express. Had he written a children’s book? I decided to take a chance and bought it.

After a nasty takeaway eaten sitting on the edge of the bed and with nothing on tv — only three channels and no Netflix then — I examined my purchase and found that it was in fact by a certain J.P. Martin whom the blurb informed me was a retired Methodist Minister, just like my dad. Not necessarily a good omen but I started reading anyway and was soon entranced.

Uncle is the fabulously rich owner of a sort of castle called Homeward, though ‘castle’ doesn’t do justice to this astonishing place with its towers, moat, private railways and wonderful collection of residents: Goodman the cat with a taste for detective stories, the little lion who can make himself heavy just by concentrating , the two Respectable Horses, and many many more.  Uncle is an elephant, by the way. On the other side of the moat is Badfort, occupied by a crowd of ne’er-do-wells led by Beaver Hateman, and they are Uncle’s enemies. They dress in ragged sacking, get drunk on Black Tom and Leper Gin, and they constantly plot and scheme to embarrass and bring down the Dictator of Homeward. Rev. Martin had an incredible, teeming, hilarious imagination, and if I’d worried that there might be some sort of moral attached to all this I needn’t have. It was pure nonsensical  bliss.

I was enjoying Uncle so much that I had to ration myself to a chapter at a time, going outside for a cigarette break in between bouts, and when I returned to London I wanted to know if there were any more of these amazing books. The good news was that there were six of them in all, and the bad news was that they were incredibly hard to find. I was a haunter of second-hand bookshops in those days and luckily found the second volume in a local one, the late-lamented Ripping Yarns in Highgate, but I could never find the others, even in dealers’ catalogues. There was a rumour that a wealthy American collector was snapping up any that copies that came to light, and it may have been true for I was never able to get my hands on one.

Years passed. Then out of the blue came the news that there was an omnibus edition in preparation: all six books in one handsome volume with the original illustrations by Quentin Blake (now Sir Quentin) and encomia by the likes of Neil Gaiman, Martin Rowson, Andy Riley, Kate Summerscale and Justin Pollard. Other famous fans of Uncle included Will Self, Spike Milligan, Philip Ardagh, Richard Ingrams, Ekow Eshun and David Langford — and I’d thought I was the only fan, the sole discoverer!  It was expensive but I had to have it and it didn’t disappoint. Lots more bliss.

The omnibus is even more expensive now but some of the titles have now been made available as Kindles, for anyone who wants a taste without forking out too much cash. Uncle won’t be everyone’s bucket of cocoa but I think those who like him will like him very much indeed.

Charles Dickens and the flying pigs

Going through some old papers I found various letters and cards from my father which he had signed “from the Aged Parent” or just “Aged P.”  Dickensians will of course recognize this soubriquet from Great Expectations which as a family we knew from the TV version, one of the classic serials that the BBC showed at Sunday teatimes in the 1960s.  The scene in question occurs when Mr Wemmick is showing Pip round the odd little wooden house that he has built for himself and his father in the manner of a tiny castle complete with battlements, a flagpole, a minuscule moat with a drawbridge, and a small cannon on the roof which is fired every night at nine o’clock to please the otherwise deaf old man, whom Wemmick refers to as the Aged Parent.  This greatly amused my father who promptly adopted the title for himself, even though he was then only in his fifties — considerably younger than I am now, I realize with some shock.

Wemmick's house
Wemmick’s house

I think I dimly perceived at the time that Dickens was playing games here and that Wemmick’s house was a sort of manifestation of the expression “An Englishman’s home is his castle,”  but I thought no more about it and read no Dickens until I was obliged to when Our Mutual Friend was set as one of our A-level texts: not one of Dickens’s greatest hits (and why were our set books so damn long?  There was also Nostromo, another monster), though Our Mutual Friend has its delights early on.  One that sticks in the memory is the hapless young man at the Veneerings’ dinner party who keeps trying to start a conversation in French but gets no further than “Esker…”.

It did make me realize, however, that Dickens ought to be read rather than seen in film and tv adaptations, which may portray the characters and settings brilliantly enough but inevitably miss the language games that Dickens loved to play when he wasn’t rushing to meet a deadline.  And so, with the additional encouragement of a university tutor, I became a sort of part-time Dickensian, and when I happened upon Craig Raine’s essay ‘Dickens and Language’1 I  gobbled it down and was soon made aware of how much of Dickens’s cleverness — and fun — I had missed in my all-too-casual reading of his novels.

It’s a brilliant piece of analysis.  To quote one of his examples, of Miss Tox in Dombey and Son he writes:

She is a genteel lady in reduced circumstances, someone of “limited independence”. But before Dickens discloses her financial circumstances, we are shown Miss Tox’s inability to make ends meet: “it was observed by the curious, of all her collars, frills, tuckers, wristbands, and other gossamer articles – indeed of anything she wore which had two ends to it intended to unite – that the two ends were never on good terms, and wouldn’t quite meet without a struggle.” The indirectness of Dickens’s method seems itself an example of tactful decorum totally suited to Miss Tox.

Raine finds many other examples of Dickens “literalizing the commonplace”, as he puts it, including Mrs Grandgrind in Hard Times being ‘a bit dim, not very bright’, Wilkins Micawber’s singing in David Copperfield, and

In Bleak House, there is Phil Squod whose experience of life’s vicissitudes has literally made him ‘go to the wall’, as the expression is: “He has a curious way of limping round the gallery with his shoulder against the wall, and tacking off at objects he wants to lay hold of, instead of going straight to them, which has left a smear all round the four walls, conventionally called Phil’s mark.”

Putting the book aside I turned on the tv and found myself hooked into a rerun of Minder, a particularly fine episode featuring the wonderful Richard Griffiths as the hedonistic and totally irresponsible custodian of a rock star’s mansion2, but I had forgotten the subplot in which Arthur Daley is cojoled into investing someone else’s money in three mechanical flying pigs: the sort of coin-in-the-slot machines that used to be positioned in playgrounds and supermarket car parks for kids to ride on.

One of the flying pigs

It’s clear to the viewer that this is one of Arthur’s dodgy deals and very unlikely to pay off, and of course it doesn’t, but in discussing its chances no-one ever says “And pigs might fly.”

For popular tv writing this is pretty subtle stuff, and Minder was always worth watching not just for its characters but also for its language, especially in the episodes written by Leon Griffiths, the creator of the series (no relation to the actor Richard), who gave the world ‘Er indoors (often mentioned but never seen) amongst other delightful things.  Griffiths always denied that he had invented the rhyming-slang expression ‘pork pies’ for lies, but no-one believed him, and he should probably be given credit for actually adding a new expression to everyday speech.  Practically everyone in the UK knows what’s meant if someone is accused of telling porkies.

With these things in mind I’ve been trying to think of any such Dickensian metaphors in my own eclectic reading, but the only one that comes to mind is in Charles Platt’s The Garbage World 3, the world in question being an asteroid called Kopra (geddit?) where other worlds discard their very unpleasant rubbish.  It could be seen as a novel-length literalization of being dumped on from a great height.

1  in Craig Raine: Haydn and The Valve Trumpet (1990), currently available as a Kindle for £3.99.  A snip.

2  Minder, series 3 episode 5, ‘Dreamhouse’, written by Andrew Payne and Leon Griffiths (first shown in February 1982).

3  The Garbage World (1967), first serialized in New Worlds in 1966.

Hopper

Every day in my inbox amongst the spam and those persistent emails urging me to buy another solid oak coffee table is one from an outfit called Delancey Place1 with an excerpt or quotation from a book that these people view as interesting or noteworthy. They are pretty good at choosing from books that are interesting to me too, and as I have always admired the paintings of Edward Hopper this recent post intrigued me. Hopper, they say, “was able to masterfully convey powerful emotions through genuinely American landscapes and scenes that were simple, stark and spare. Among those themes most often recurring in his work were disenchantment, solitude and eros.” and they quote this extract from Gail Levin’s book.2

When he wanted to convey disenchantment, Hopper turned to melancholy of dusk. In Summer Twilight (1920), he presented a man standing before a woman seated in a rocker, a sleeping dog lying by her side. The man appears tense, his head angled downward, his hands in his jacket pockets, although the woman’s fan implies that it is hot. She looks away, refusing to meet his gaze; a distance exists between them. The twilight of the title suggests not only the end of day and onset of night but, by allusion, the end of something, an impending termination, bringing with it uncertainty and gloom. With a pessimism that would later become characteristic of his work, Hopper captured a summer romance in its waning hours; the couple’s idyllic summer setting will inevitably yield to the harsh realities of winter. Hopper’s working sketches of Cape Cod Evening (1939) reveal that the painting evolved through several stages. Initially, he considered having only one figure: a woman seated on a doorstep with a dog standing close by, facing her. Then he tried the woman standing in blowing grass with the dog. His resolution — a man beckoning to the distracted dog from the doorstep with a morose-looking woman standing before the window — changed the entire content of the painting. We now confront a disenchanted couple: she detached, in a world of her own thoughts and dreams, he trying to communicate with the dog instead of with her. The evening here once again alludes to the twilight of a relationship.

Communication does not work, and as Hopper commented on his inspiration and intention in Cape Cod Evening, even the dog listens only to a distant whippoorwill. The presence of a dog, both here and in the etching Summer Twilight, suggests that Hopper relied on this familiar symbol to make his own ironic comment on the couple’s deteriorating relationship. Certainly, he knew and admired what he called “the honest simplicity of early Dutch and Flemish masters,” embodied by Jan van Eyck’s fifteenth-century Arnolfini Marriage Portrait, in which the dog is a symbol of fidelity and devotion. But Hopper may have also been aware that later, in Dutch paintings of the seventeenth century, a dog often connoted lasciviousness or gluttony, in an ironical reversal of the original symbolism.

In Hopper’s 1947 painting Summer Evening, the time of day again corresponds to a stage in a couple’s relationship. The young couple in the painting — she scantily clad for the summer’s heat — seem engrossed in an unpleasant discussion while they lean against the wall of a porch with only the overly bright electric light — no romantic moonlight for them. The porch of the clapboard house recalls Hopper’s boyhood home in Nyack, suggesting that his conception in Summer Evening was based on distant memories.

Indeed, he claimed that the painting had been in the back of his head “for twenty years.” The woman’s face is twisted in a grimace, while her shoulders are arched defensively — like the back of a provoked cat. The man, the focus of her discontent, holds his left hand on his chest as if protesting. Hopper poignantly expressed the torment of a passion gone sour: the fresh excitement of spring about to turn into the disillusion of autumn. As in Summer Twilight and Cape Cod Evening, dusk here symbolizes the melancholy of lost desire, opportunity surrendering to inevitable decay.

1  DelanceyPlace.com sends ‘a brief daily email with an excerpt or quote we view as interesting or noteworthy.  Eclectic excerpts delivered to your email every day.’  Subscription is free and all DelanceyPlace.com proceeds are donated to children’s literacy projects.
2  Gail Levin: Edward Hopper: An Intimate Biography (Knopf, 1995)

Wild City

One of the incidental pleasures of starting a blog is that it’s putting me in touch with old friends that I’ve neglected for much too long. One of them is Charles Platt* who I’m delighted to find is alive and well and posting some fascinating material on Facebook, including this recent piece which I include here with Charles’s permission.

Tonight I watched Wild City on Bluray, the penultimate film from the amazing Hong Kong director Ringo Lam, whose movie City on Fire was ripped off by Quentin Tarantino when he made Reservoir Dogs and established himself as an “innovator” by copying a director who almost no-one had heard of at the time.

My favorite Lam film of all time was Full Contact, which pushed the Hong Kong gangster genre beyond all previous boundaries, featuring Chow Yun Fat up against a totally deranged knife-wielding gay gangster in a gold lamé jacket.

Wild City was made in 2014, seemingly 100% on location in Hong Kong and environs. Like all Ringo Lam movies, it shows people under extreme personal stress, trying to make ethical decisions. In this case an ex-cop is struggling to do the right thing with his no-good half-brother, when they get mixed up with a mainland Chinese woman who has a suitcase crammed with cash belonging to a corrupt lawyer ex-boyfriend. The complexity of the plot is astonishing by comparison with typical Hollywood action movies, yet Lam still has a kind of naïve, almost clumsy charm which creates a sense of realism even when the action escalates to extreme levels.

US critics were condescending and snide about Hong Kong action movies in the 1990s, and twenty years later they were still condescending toward Wild City when it was released, with the added bonus that they complained it was not as good as Lam’s early work (which they had forgotten they trashed at the time).

For me Wild City is a wonderful extension of those 1990s movies (which I loved), using the capability of modern movie equipment to display scenes of such detail, there is a feeling of deep immersion. I almost feel I don’t need to visit Hong Kong, now that I have watched this movie. And, of course, it is very poignant in view of recent political developments. Those wonderfully crazy, extreme action and kung-fu movies were so much a product of exuberance in a city that was enjoying wild growth as a function of minimally controlled capitalism. We’re not going to see anything like that under CCP control.

The cover image at left is inappropriate, failing to show any of the three principal actors. I suspect it was used only on US-region exported versions of the disc, to avoid showing Asian faces to American buyers.

* See my earlier post ’Nigel aka Simon’. Charles has been a prolific writer since the 1960s and is currently writing his autobiography; the second volume, An Accidental Life, Volume 2, 1965-1970: The New Worlds Years, has for various reasons been withheld from distribution in the UK so far but may be made available here soon, and if it is I’ll let you know.