The Mighty Micro

New Month Old Post: first posted 4th January, 2017. 

In 1978, Dr. Christopher Evans, a psychologist, computer scientist and expert on the future of computers, confidently made four predictions for the year 2000: (i) the printed word would become virtually obsolete; (ii) computer-based education would begin to supplant schools and teachers; (iii) money, in terms of physical bits of metal and paper, would almost have vanished; (iv) substantial and dramatic advances would have taken place in the field of artificial intelligence.
 
His only uncertainty was about the pace of change. It might take a decade or so longer, or occur more quickly, but the changes about to take place would be so stupendous as to transform the world beyond recognition. There would be more changes than in the whole of the two previous centuries. We were about to experience rapid, massive, irreversible and remorselessly unstoppable shifts in the way we lived.

Evans expanded his predictions in his book and television series The Mighty Micro. As well as the four main predictions, he thought we would soon see self-driving collision-proof cars, robotic lawn mowers, doors that open only to the voices of their owners, the widespread commercial use of databases and electronic text, a ‘wristwatch’ which monitors your heart and blood pressure, an entire library stored in the space of just one book, a flourishing computer-games industry and eventually ultra-intelligent machines with powers far greater than our own. Every one of these things seemed incredible at the time.

The social and political predictions were even more mind boggling. Evans foresaw a twenty-hour working week for all, retirement at fifty, interactive politics through regular electronic referendums, a decline in the influence of the professions, the emptying of cities and decreased travel as we worked more from home, and the fall of communism as underprivileged societies become astutely aware of their relative deprivation.  

I remember how fantastic and exhilarating this view of the future seemed at the time, but it gave me a serious problem. Having escaped my previous career in accountancy, I was half-way through a psychology degree trying to work out what to do next. If Evans was to be believed, and I believed a lot of it, then most of the then-present ways of earning a living were in jeopardy.

What was I to do? The answer seemed obvious: something that involved computers. So like Evans, I looked for ways to combine psychology with computing, and after gaining further qualifications that is what I did.

Dr. Christopher Evans talks about educational software

It is fascinating to revisit Evans’ predictions. How many were correct, what would have surprised him, and why? Many commentators conclude he got more things wrong than right, but I am not so sure. The printed word no longer predominates; computers now pervade education, albeit with teachers in schools as guides rather than in the didactic and solitary way Evans imagined; and nearly all significant financial transactions are carried out electronically. And the less-bizarre predictions are already here.

Undoubtedly, he over-estimated the pace of change, especially the emergence of advanced artificial intelligence. Futurologists are still predicting it. Stephen Hawking warned of the terrifying possibilities of machines whose intelligence exceeds ours by more than ours exceeds that of snails. On the other hand, it may still be as far away as ever. It remains unclear what qualities such super-intelligence might have, or whether intelligence might have an upper limit. Perhaps our inability to imagine these things defines our stupidity. Where Evans was wrong, if it can be regarded as wrong, is that he was no seer. He could not escape the prevailing mindset of the nineteen-seventies, and foresee the innovative new uses of computers.

He did not foresee the internet. Multimedia crops up only in the form of a brief mention of “colour graphics”. Graphical user interfaces were still little more than a research project. He thought that electronic communications would take place through “the family television set” rather than personal hand-held devices.

And if you could not foresee these things, there is no way you could imagine how they would be used. Evans, with a seemingly naive view of human nature, imagined we would all be using computers to improve ourselves and make our lives easier; that our leisure time would be devoted to cultural, artistic, philosophical, scientific and creative endeavour of various kinds. I wonder what he would have made of internet pornography, fake news, selfies and cat videos.

Evans’ over-beneficent view of human nature coloured his vision of the social and political changes he thought would take place. Take the twenty-hour working week and retirement at fifty. The efficiencies brought about by computers could already have reduced our work significantly, but this has never been offered. It would upset too many powerful interests. Governments answer to the establishment more than the ‘man in the street’. As a result, for those who have jobs, the trend today is the opposite. And for those who don’t, wouldn’t it be fairer to share the jobs out?

Imagine if twenty hours per week up to the age of fifty was all we had to do. What would happen? For a start there would be those who decided to take on additional work in order to fund superior accommodation, private education, health care, better holidays, a more luxurious lifestyle and a more comfortable old age. Anyone content with just one job would begin to lose out. To keep up, we would all continue to work more than necessary, and the extra wealth would evaporate through increased spending, inflation and rising house prices, and disappear into the pockets of the elite minority, much of it overseas. Does that sound familiar? The only way to avoid the inevitable self-satisfied winners and miserable losers would be to ration the amount of work one could undertake, or the amount of wealth one was allowed to have. The necessary laws and financial penalties would be unpopular and difficult.

And how would we use our over-abundant spare time? One could easily imagine an intensification of social ills: epidemics of obesity, alcoholism, drug dependence, mental health issues and the breakdown of law and order. 

‘Parkinson’s law’ prevails: work expands to fill the time available. Anyone with experience of large organisations will know how work once considered inessential or unaffordable, now occupies an entire additional workforce who administer quality, accountability and ‘political correctness’. Rather than reducing the overall workload, computers have increased it by making possible what was once impossible.

Stephen Hawking concluded his forewarnings about super-intelligent computers as follows:

“Everyone can enjoy a life of luxurious leisure if the machine-produced wealth is shared, or most people can end up miserably poor if the machine owners successfully lobby against wealth redistribution. So far the trend seems to be towards the second option, with technology driving ever-increasing inequality.”

Sadly, Christopher Evans died shortly after his book’s publication, three weeks before his television series was broadcast. It is often said that if you make predictions about the future the only certainty is that you will be wrong. Evans would have known this, but I suspect he would have been fairly satisfied by the extent to which he got it right. 

My original post in 2017 was quite a lot longer and included links to the archived television programmes, so I have left it here. The programmes are fascinating to watch if this kind of thing interests you - the future as seen in 1978.

Working Class?

The Frost Report Class sketch. It is heavily copyrighted, but you might get it to play at: https://www.tiktok.com/@freeseedfilms/video/7235691483561544986

I found it interesting that, according to his son, Michael Parkinson, who died recently, suffered from imposter syndrome. He doubted his abilities as a writer and television interviewer, and feared he was not as good as others. It seems he could be very short-tempered when an appearance or deadline was near. It is difficult to believe this of someone so accomplished. His son thought it came from having grown up in a council house at Cudworth near Barnsley, the son of a coal miner.

I said I could understand this because I was from a northern working-class background myself, and had often felt above my station. Could I have done more with a bit more self-belief? I don’t know, but I have known and worked with those who reached senior university management, one a Vice Chancellor, and seen what self-regarding mediocrity some can be.

One thing certain to get my wife and family worked up, is when I claim to be working-class. “You are not working-class,” they say. “Your father owned a business, and a house and car. You had books at home. You went to a grammar school and became a university academic.”   

I argue back that my father did not own a business until I was in my mid-teens, when he took over from his own father. Until then, his father was his employer and he was treated no differently from other employees. He spent three days a week travelling the country villages, often until after seven at night, with paperwork still to do. One day a week, he cycled to work in a boiler suit to maintain and clean the firm’s cars and vans. He worked a five-and-a-half day week, with two weeks annual holiday. We lived in a working-class area and rented a terraced house until I was six. My mother’s father worked in mills. Most of my friends lived in council or terraced housing, and their fathers worked in factories, on the railways, or on the docks. One drove lorries for the council. Another emptied gas meters. I had no sense of being different, except that we rarely mixed with children from professional families. It was a very working-class grammar school I attended, and did not do very well there. I only went to university late. I looked and sounded working-class. How the headmaster sneered in disbelief when I entered my father’s occupation on my leavers’ form as Company Director. Surely, the circumstances and circles in which you grow up, and how they make you behave, determine your class origins.

We are not going to agree. It is a complex subject that has changed over time. To say someone is working-class now might be seen as an insult. It makes than sound like public lavatory attendants or slaughter men. We all like to think of ourselves as middle-class now.

There is also a North-South element. Social and lifestyle changes occured much earlier in the South of England where my wife grew up. There were more professional jobs, and many people travelled into London each day. My own town had few middle class people, and certainly no upper-class. But it depends how you draw the line. I would say my teachers were working-class, as were bank clerks, and shop and office workers.

The English class system: is it possible to cover all angles of such a vast topic? Sociologists would consider unskilled and semi-skilled employment, white-collar and blue-collar jobs, salaried or waged, sources of income, asset ownership, education, lifestyle, interests and so much more. In some recent categorisations, I come out more like the upper classes.

It doesn’t change my view. Me and Parky: two northern working-class grammar school lads made good. Or am I making excuses and playing the victim?

Lytton Strachey

New month old post (originally posted 20th June, 2016)

As a young, unreconstructed, heterosexual male from a northern working-class monoculture, it was a most unlikely book to be reading: Michael Holroyd’s biography of Lytton Strachey (1880-1932), an effete, gangling homosexual with a big nose, unkempt beard and light, reedy voice. I got it by forgetting to cancel the default selection from the book club I was in.

I cautiously dipped into its 1144 pages, wondering what on earth it was, and was quickly drawn in by the preface, an account of Holroyd’s researching and writing of the book.

Lytton’s archive was so extensive it took Holroyd five years to work through it, a period he describes as “… a way of life and an education.” As he ploughed through the plethora correspondence with its detailed accounts of faulty digestion, illness, apathy and self-loathing, he began to experience the same ailments himself, wondering whether they could be posthumously contagious. He resolved that his next subject must be someone of extraordinary vitality.

Even so, Holroyd’s life as a writer and researcher seemed hugely preferable to mine as a trainee accountant. There had to be more edifying things than an accountancy correspondence course. Constructing control accounts and trial balances was anything but an education.

If Holroyd’s account of writing the biography drew me in, his descriptions of the Strachey family had me hooked. There were numerous uncles, cousins and other visitors, many either distinguished, completely potty, or both. Holroyd describes them as “the flower of originality gone to seed.” One uncle who had lived in India continued to organise his life by Calcutta time, breakfasting and sleeping at odd times of day.

Other oddballs walk on and off stage throughout the book. One of my favourites could have been invented by the comedian Ronnie Barker. He was “dr. cecil reddie” Lytton’s one-time headmaster and a leading member of “the league for the abolition of capital-letters.” In retirement he corresponded with “lytton” from his address at “welwyn-garden-city, hertfordshire.”

Having chuckled my way through the early chapters, I became immersed in Lytton’s school and university days, identifying with his shyness and awkwardness in company, the feeling of somehow not fitting in, and his difficulty in making friends. But when he got to Cambridge University he began to thrive. He was elected to the Conversazione Society, otherwise known as the Apostles, a highly secretive group which met in members’ rooms on Saturday evenings to eat sardines on toast and discuss intellectual topics.*

Through the Apostles, Lytton became friends with leading writers and intellectuals of the day, such as Bertrand Russell, G. E. Moore, Rupert Brooke, John Maynard Keynes and leading members of the now-famous Bloomsbury Group of writers, artists and intellectuals which included writers Virginia Woolf and E. M. Forster, and the post-impressionist painters Roger Fry, Vanessa Bell and Duncan Grant.

Many rated Lytton as one of the cleverest people they had encountered, but immediate success eluded him. His history degree was Second Class, his application to the Civil Service unsuccessful, and he was twice rejected for a University Fellowship. He found himself back home writing reviews for periodicals and generally drifting. Churning out articles left little of his scant energy for the great work he hoped to write. Eventually, at the age of thirty-one, he did produce a book, a history of French literature, but it brought neither the wealth nor the success he sought.

I still envied him. I would have been happy to get into any university, let alone Cambridge, and it would have been the sauce on the sardines to be invited to join a secret club. My not-so-exclusive group of mates who met in the Royal Park Hotel to drink five pints and tell sexist and racist jokes did not have quite the same intellectual mystique.

Lytton’s life at this time seemed no more purposeful than mine, with a similar pattern of futility and wasted energies. But it must have been nice, when feeling a bit fed up as Lytton often did, to be able to take oneself off to relatives in the Cairngorms, or to friends in Sussex or Paris. He was no slave to the thirty-seven hour week and three weeks’ annual holiday.

One of the most startling revelations in Holroyd’s book was its frank treatment of bi- and homosexuality. There was irony in Lytton’s alleged response to the First World War military tribunal that assessed his claim to be a conscientious objector. When asked: “What would you do if you saw a German soldier attempting to rape your sister?” he is said to have answered: “I should try to come between them.”

Nevertheless, some women were attracted to Lytton, and Lytton to some women. At one point he proposed to Virginia Stephen (later Woolf), who accepted him, although both rapidly decided it not to be a good idea.

Then, in 1915, he was captivated by an androgynous young painter, (Dora) Carrington (known by her surname only). Their story begins when she crept stealthily upon Lytton’s sleeping form intending to cut off his beard in revenge for an attempted kiss. Lytton suddenly opened his eyes and gazed at her. Holroyd takes up the tale: “... it was a moment of curious intimacy, and she, who hypnotized so many others, was suddenly hypnotized herself.” From that moment they became virtually inseparable. They set up home together and were often simultaneously besotted with the same person, usually male.

Look how much she loved him:

Lytton Strachey by Dora Carrington (1916)

In 1918, Lytton’s fortunes changed. His book, ‘Eminent Victorians’, caught the mood of a war-shocked nation, cynical and distrustful of the rigid Victorian morality that had led to the conflict. The title is of course ironic. It dismantles the reputations of four legendary Victorians. To summarise Holroyd: Cardinal Manning’s nineteenth-century evangelicism is exposed as the vanity of fortunate ambition; Florence Nightingale is removed from her pedestal as the legendary ‘Lady of the Lamp’ and revealed as an uncaring neurotic; Dr. Thomas Arnold is no longer an influential teacher but an adherent to a debased public school system; and General Gordon, the ‘hero’ of Khartoum, is shown to have been driven by the kind of misplaced messianic religiosity all too familiar to those returning from the trenches.

The book reflected the attitudes of Lytton’s Bloomsbury circle, in many ways foreshadowing how we live now, especially the displacement of public duty and conformity by private hedonism and individuality. It also revolutionised the art of biography, showing off Lytton’s virtuosity as a writer: his repertoire of irony, overstatement, bathos and indiscretion, his fascination with the personal and private.

Holroyd’s reputation, too, was shaped by his Strachey biography, establishing him as part of England’s literary elite.

For me, both Strachey and Holroyd were a revelation. Despite being worlds away from my own time, place and social class, they helped strip away the veils of convention and conformity that school, church, state and society had thrown over us. The parade of larger-than-life eccentrics showed it was not unacceptable to be different; that you did not have to follow convention or do what others expected; that not everyone had launched themselves into an upward trajectory by their twenties; that we can all have doubts and be demoralised, yet still come good. 

Northern working-class England in the fifties and sixties was as rigidly Victorian as the mores rejected by Bloomsbury. People worked long hours, had few holidays and were poor. Authority went unquestioned and unchallenged. But the times they were a-changin’. There were opportunities in abundance. For me, it was not so much Bob Dylan or John Lennon that brought this message home, but a rare biography of Lytton Strachey. 

Footnotes:

This was the 1973 edition of the Holroyds biography published by Book Club Associates. The biography was revised in 1995 to incorporate material that had become available since the earlier editions, but I still prefer the detail of the 1973 version. There is now an enormous amount of other material about Lytton Strachey, Dora Carrington and the Bloomsbury Group.

* The Cambridge Apostles are rumoured still to be active. Members consider themselves the elite of the elite. Membership is by invitation only and potential recruits are unaware they are being considered. Despite the secrecy, one has to wonder whether they might easily be identified by their supermarket trolleys overstocked with excessive quantities of tinned fish and toasting bread on Saturdays. They need to address this security weakness urgently.

Kinder Scout

A favourite Derbyshire walk through the years, possibly a metaphor for life 

(first posted 13th January, 2018, 1550 words)

The bleak Kinder moorland can be incongruously beautiful on a fine day, but it was not like that on my first visit in 1974. It was dark and grim, covered in cloud, difficult to know where you were heading. As we ascended Fair Brook, veils of thick, grey mist closed around us, washing away the last of the autumn colours. Drizzle drifted down from the plateau, permeating our cagoules and soaking my canvas rucksack. It had been drenched so often it was beginning to smell like a bag of old socks. It could have been a metaphor for my life at the time: three jobs inside a year and a pointless, wasted term at teacher training college.

Seeking shelter: Fair Brook crags, 1974

Kinder is a silly place to be out in bad weather, but Neville and I likened ourselves to hardened Himayalan mountaineers. I had even started to grow a beard like Chris Bonington’s, a new self-image to get life and work back on track. The comparison was ridiculous, but role models and self-images can be helpful. There is nothing wrong in trying to find a bit of mental strength and inspiration, despite the obvious differences between the Himalayas and the Derbyshire Peak District, or for that matter, between a fearless expedition leader and an assistant accountant in an office.

We sheltered under overhanging rocks at the top of Fair Brook to eat our sandwiches. From there we took a rough bearing across the moor to Kinder Downfall: about 255 degrees. In more forgiving terrain, you would pick out a distant landmark and head towards it, re-checking your compass just now and again, but distant landmarks are few on Kinder Scout: there is only moor and sky if you’re lucky, and mist if you’re not. You can believe it the roof of the world where abominable bipeds dwell.

An abominable biped on Kinder Scout: spring 1975

The surface is broken into a maze of peat ridges, or ‘hags’, by deep, slippery trenches known as ‘groughs’, which twist and turn like waves in a sea of mud. Groughs can be fifteen feet deep (five metres), and there are a lot of them to cross.

Hags and groughs on Kinder plateau, 2005

Just as in life, you glide effortlessly along the tops of the hags until they veer off in the wrong direction or lead to a patch of impassable bog. You backtrack, looking for a place to cross, and descend into a grough, half-walking, half-sliding, only half in control, struggling to keep your balance and stay clean and dry. Inevitably you end up smeared in black peaty mud. You follow the grough until it narrows to a steep watery ‘V’ where, legs apart, one at each side, you struggle to continue. Or again, the grough turns in the wrong direction or leads into a pond. You look for a place to climb out and follow the tops of the hags again. Before long, you are laughing like a toddler stamping through muddy puddles in Wellington boots.

You check your direction constantly but cannot tell how far to the left or right you have drifted. Soon you can be a hundred yards or more off course. You might be enticed into following footprints, but they can easily be from someone else who was helplessly lost, perhaps one of those abominable bipeds. You might see other walkers and decide to follow them, only to find they are wandering round in circles. You really have to trust your compass, no matter how fallible. Providing you do, then sooner or later you will come upon the River Kinder: not a river in the ordinary sense, but a wider, flatter trench than the groughs, with a stony and sometimes sandy floor. For most of the year you can walk westwards along its bed until you arrive high above the sheer gritstone gorge of Kinder Downfall.

The Kinder River: 1974

Kinder Downfall is the highest waterfall in the Peak District, where the Kinder River tumbles a hundred feet (30 metres) from the plateau. It is magnificent in spate, especially when the wind blows it back upon itself in a shimmering rainbow cloud. At such times it would not be unreasonable to call it Kinder Upfall.

Kinder Downfall (or should it be called Kinder Upfall?), 2005

We pressed on along the edge of the plateau – part of the Pennine Way – in our murky globe of gloom. We could just about make out the distinctive starfish shape of Kinder Reservoir below, but there were none of the distant views beyond Manchester to the mountains of Snowdonia you see in clear weather. We began to doubt our route. A couple of walkers came towards us, the only others we had seen all day. We asked whether we were on the right path for the Snake Inn. They looked doubtful.

“Probably, but it must be at least ten miles,” they thought.

That worried us. But that’s the thing about walking. It is a metaphor for life. Whether you are slogging up a mountain, plodding endless distance or trailing others in wretched misery, you have to keep going through the grit and grimness. You have to get back on the hags and leave the groughs behind. Usually you do. In my case, it was the accountancy that got left behind. The Chris Bonington thing really did help, even though Bonington would never have been an accountant in the first place, or had his sandwiches made by his mum.

It turned out we were right and the other walkers wrong. Within half an hour we reached the corner of the plateau above Ashop Head, where a steep slope descends to a signpost at the junction of the Snake Path and Pennine Way. Within another half hour we were at the derelict Ashop Clough shooting cabin where we stopped for the last of our coffee, and for Neville to smoke his pipe and reflect upon the meaning of things.

The derelict shooting cabin in Ashop Clough: 1975 and 2011

Such as what did the shooting cabin mean? In 1974, it still sheltered you from the worst of the elements. You could just about visualise the cosy refuge it must have been for the privileged few before the “right to roam” trespass of 1932. The likes of us would not have been welcome then on the Kinder moors, I would have not been exploring different careers, and most of Bonington’s mountaineering pals would have been at work instead of climbing. The derelict structure was like a monument to social progress and freedom of opportunity. 

Tellingly, it provides no shelter at all now. During the last forty years or so, the east gable end, the fireplace and roof have disappeared without trace. The only slight improvement is to the bridge across the stream to Black Ashop Moor, which is now marginally sturdier than the precarious plank you once dared cross at your peril. Fortunately, you never had to. The route continues on the northern side of the stream and soon passes through woods to steps back up to the road.

Looking along Seal Edge towards Fairbrook Naze on the far right

Since then, I have wandered this northern part of Kinder Scout at least a dozen more times, in every kind of weather. One summer day, when the sun was shining and the ferns and heather at their loveliest, I took my son and daughter, she was then only seven, across the bottom of Fair Brook and up to Seal Edge, forgetting just how far it is to return down the Fair Brook valley, but she did it without complaint. Another day, alone on the same route, I surprised two wild wallabies at the western end of Seal Edge, although not as much as they surprised me. They jumped out and disappeared across the moor before I could get my camera, leaving me wondering whether I had simply imagined them.

Icicles on the Snake Path through Ashop Clough: winter 1976

I have been on the Snake Path when the Ashop was frozen hard and long icicles lined the banks like crystal chandeliers. I have walked east along The Edge aiming for the top of Fair Brook and completely failed to recognise it (not alone I should add), and had to hitch a lift back to the car after finally descending to the road. That’s what happens on Kinder Scout when you arrogantly think you know it well enough not to look at your map and compass. I once tried to cross the top of Kinder from the Downfall to Fair Brook, which requires more accurate compass use than east to west, and after what seemed like an eternity, emerged way off course near Fairbook Naze looking over The Edge. Not accurate enough! When I eventually reached Fair Brook that day, the descent just about finished my knees. Lessons, lessons, lessons, but things turn out right in the end.

I suppose now, with satnav, you know exactly where you are all the time, but I’m not having one of those. It’s cheating. I don’t want to make things too easy for myself. It doesn’t fit my self-image, even though, unlike Sir Chris Bonington, I won’t be shimmying up The Old Man of Hoy at the age of eighty.

Fair Brook with Kinder Scout in mist in 1974, and clear in 2007

Re-reading Teenage Reading: The Saint

Leslie Charteris: The Brighter Buccaneer (2*)
 
A while ago, I mentioned some of the novels I acquired through a nineteen-sixties paperback books promotion. What would I make of them now, I wondered.  

One was a Saint book by Leslie Charteris. On television, The Saint was unmissable viewing for me and six million other Britons. Episodes were set in Rome, Paris or other exotic locations, and full of humour, adventure and glamour. Roger Moore as Simon Templar was sophistication personified: savoire-faire in an eyebrow. In Belgium, Hugo, my foreign-language-exchange partner, was a big fan, too. We shared the affliction of believing after every episode that we actually were Simon Templar. We were both going to have white Volvo P1800s when old enough. I taught myself to draw the haloed Saint stick-figure, although mine always looked a bit limp-wristed.

The television series led me to Saint books in the local library. They were a comparative disappointment. They still are. Written and set mostly in gloomy nineteen-thirties London, the fifteen short stories in The Brighter Buccaneer are about a Simon Templar who is not in any way a role model for teenage boys. He is an outright criminal. True, he has principles and always outsmarts his adversaries, but he will take jewellery from batty old dowagers and suitcases of banknotes from tricksters. If that was all right then stealing the odd ream of paper and bottle of milk from school must have been fine.

There are some slick plot devices, such as when, at a ball, about to be caught red-handed with the diamond from the hostess’s necklace, the Saint kisses a girl who speaks up for him, who then walks off with the diamond in her mouth. But, too often, I found Charteris’s long-winded, ironic style, rather irritating. Here is one of the shorter examples:

It is a notable fact, which might be made the subject of a profound philosophical discourse by anyone with time to spare for these recreations, that the characteristics which go to make a successful buccaneer are almost the same as those required by the detective whose job it is to catch him. (p19)

He is a good writer, but no Jane Austen. The above leads to a lengthy description of the required characteristics: infinite wit and resource, unlimited memory for every out-of-the-way fact, inductive speculation, infinite sympathy, an unstinted gift for weird and wonderful friendships, the list goes on. Simon Templar has them, of course. He must have been a Yorkshireman.

Charteris wrote Saint stories from 1928 to 1963. Later books were by others in his name. Perhaps, instead of a nineteen-thirties collection, I should have looked for one from the –fifties or early-sixties, some of which formed the basis of television episodes. This one does not encourage me much.

Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

Ray Gosling’s Goole

(First posted 15th October 2017. The YouTube videos linked below are quite long. I don’t expect many will want to watch them through.)

Gosling’s Travels: Goole (1975, 26 minutes)

In 1975, the radio and television broadcaster, Ray Gosling, made a film about Goole: a place I used to know well. The inhabitants were appalled. They had been looking forward to a film about a pleasant little town on the banks of the Ouse, with friendly folk in homely homes, about canals and railways, brave mariners who sailed the North Sea, the strange salt and pepper pot water towers, and the proud rise of a town from nothing to one of the country’s busiest ports in less than a hundred years: the story of the port in green fields.

But Ray Gosling was never going to stick to that. He homed in on the eccentric linguist who sought out foreign sailors to practise his Russian, businessmen who looked shifty and evasive, dockers who appeared scheming and workshy, the mysterious world of pigeon keepers, and, most embarrassing of all, the star turn, some young ladies who also liked to consort with foreign seamen, although not to practise their language skills. Goole: working-town low life in ragged abundance.

Watching again on YouTube, I see the problem. Right from the start, he goes for the jugular:

I’m walking the streets of a flat little town in Yorkshire that most of you will never have heard of: Goole. And those who do know where it is, between Doncaster and Hull, have nicknamed it Sleepy Hollow, because nothing has ever happened here that’s made the headlines in a newspaper. The place has no history worth putting into history books, and they don’t really manufacture anything. 

You might say: “What did you expect?” It was what Ray Gosling did. He was different from other broadcasters. He was cheeky and a bit common, working-class with an East Midlands accent, a university dropout, C-stream and proud of it. He made films about the little things of life, to him more important than the big things: caravans, allotments, sheds, the seedy, the left behind, the small-scale concerns of ordinary people. He was one of them. He wrote about them, ran things and campaigned for them.

The film is pure genius. He had seen the times they were a-changin’  long before Bob Dylan. He had tried to help the lively working-class community of St. Ann’s in Nottingham when the local council wanted to flatten and redevelop the whole district, but the community was lost in the end. He could see that Goole’s canal trains of coal-loaded compartments known as ‘Tom Puddings’, hydraulically hoisted into the air and tipped into the holds of ships, were nearing their end. Goole was a working museum that could not last, no more than the well-meaning vicar and police chief in the film, gullible anachronisms innocently trying to set up a wholesome mariners’ club not run by mariners. It was never going to supplant the Dock Tavern.

He had read On the Road and seen Rebel Without a Cause and The Wild One (a film banned in Britain) and understood the implications. He saw change in the hearts of young people rejecting their fuddy-duddy parents’ expectations. His autobiographies, Sum Total and Personal Copy are fascinating memoirs of the fifties and sixties. “We were the first generation to be able to busk with our lives” he reflected in 2006 in one of his last films, Ray Gosling OAP. And as he sat waiting for his cluttered Mapperley house to be forcibly sold due to bankruptcy, unable to move around the heaped accumulations of a lifetime’s work: piles of files, mountains of books, scattered nick-nacks; he said:

All my life, I’ve known we are what we collect, what we pick up, so my room with all the detail I’ve kept is what made my work, it was important, to me. The silly nick-nacks are not just nick-nacks, and they’re not silly.

That is truly uplifting to hoarders like me: the glorious antithesis of decluttering.

Ray Gosling OAP (2006, 59 minutes)

Hopefully, the links to his films on YouTube will remain active, but they might get blocked for copyright reasons. There is also an archive of his work at Nottingham Trent University.

I'll leave the last word to Ray himself, part of an article in the TV Times in 1975:

... I don’t think facts always tell the truth. And I’m not a promotion man for God, Queen and the Ruling Class in Britain Beautiful – but we do search for the good in a place. And try to film what people naturally do. Try to avoid dwelling on obvious eccentrics, though that’s difficult. We are such an individual fruit and nutcase lot. I’m not hawking any pet philosophy or seeking hidden meanings. The films are simply place-tasters.

I don’t know what you’re going to make of Goole. People live nearby refer to it as Sleepy Hollow, because nothing ever happens in Goole. That’s why I went. It’s one of the most forgotten places of England. Britain’s most inland port, 50 miles from the sea. Just as Bath doesn’t make enough of its spa water, Goole doesn’t make enough of its dirty canal water. Still it is the 11th port of the land. Behind the parish church, you can see hanging from the jib of a crane, Britain’s balance of payments. Steel: in and out. Russian timber imported. We got turfed-off a Russian boat, camera and all – nicely, but firmly. And Goole exports: coals for every purpose.

The great local row was in the pigeon club. Should the birds be flown, next season, from north to south? Opinion divided. I like Goole, I do hope I’ve done it justice.

There was a nice man we wanted to film there; Albert Gunn, dental mechanic, pigeon racer and performer in the amateur Kiss Me Kate at the Grammar School – but Albert was ill, so we couldn’t.

That’s the problem I find filming as against writing. With pictures we have to prove it. Our folks have got to perform in front of the camera.

The Compton Road Library

Leeds Compton Road Library in the 1980s

This ‘memoir’ started as a kind of autobiographical attempt to understand how things changed during my time and how I got to where I am, a record for posterity in the forlorn and vainglorious misbelief that someone might one day be interested. I hope it is not too tedious to return to this idea now and again.

One thing I wonder about is how I fell into such an agreeable career in computing and universities after badly messing up three previous chances: failed ‘A’ levels, abandoned accountancy training and student teacher dropout. Fortunately, for post-war baby boomers, chopping and changing was easier than for any other generation before or since.

At twenty-four I was in a run-down shared house and ordinary office job, a lowly clerk with a Leeds clothing manufacturer. It was pleasant enough: home at five, no exams, no correspondence courses, no expectations. It was the largest clothing factory in Europe: cheap suits, nice canteen, warm sausage rolls on the tea break trolley and three hours in the pub every Friday afternoon. You could idle your whole life away. One lad just four years older had already done fourteen years. Real old-timers still talked fondly of Sir Montague, the firm’s founder, and crossed off their days to retirement on the calendar.

With my record what else could I do? Backtrack? Repeat the same things? They said to take the Cost and Management Accountants exams but I barely went through the motions. Eighteen months drifted by. Yet in that time I made progress – seemingly by doing nothing much at all. 

Along the road was the tranquil lunchtime retreat of the Compton Road Library, an L-shaped building on the corner with Harehills Lane: the adult library in one wing, the children’s in the other, always warm, always silent, a pervading smell of floor polish throughout. Like all libraries then, they still used the 1895 Browne Issue System: the Pinterest photograph shows the catalogue drawers and tray of readers’ tickets holding cards from books out on loan.

It seemed far more extensive than the picture shows. I got through three or four books a week. It felt like a displacement activity but some left quite an impression. What did I read all that time ago?

There were walking and mountaineering books. Chris Bonington’s I Chose to Climb and The Next Horizon really caught my imagination. I acted them out on walks, scrambled up mountains, bought a Minivan, grew a beard and tried to write things. I took W. A. Poucher’s The Scottish Peaks, a treasure trove of routes and photographs, to Glen Brittle in Skye in the Minivan door pocket and got it soaked. It looked so awful I daren’t take it back, so said I’d lost it and had to pay £1. I’ve still got its stained and curly pages.

There were biographies and autobiographies. I dreamt of escaping like a hermit to some isolated part of Scotland, like Gavin Maxwell in Ring of Bright Water. I tried to emulate R. F. Delderfield who mentions in For My Own Amusement that as a young writer he had been advised to write character sketches of people he knew: “mental photography” he called it. I wondered what it might be like in a garret in Paris struggling to be a writer like V. S. Pritchett in Midnight Oil, “a free man in Paris, unfettered and alive,” as Joni Mitchell put it.

I was unimpressed by Jonathan Aitken’s The Young Meteors in which he interviewed over two hundred leading lights of pop music, film, television, art, photography, clothing, design, politics and business from nineteen-sixties ‘swinging’ London. Some were truly talented but many had either known the right people or just been lucky. 

There was fiction: A. J. Cronin, O. Henry and more – anything so long as it was not accountancy.

And all the time I was asking “could I do that?”, “could I be like this?”, “could I write like that?”

We reach a point in our lives where we need to construct an identity for ourselves: to decide who we would like to be and who not. Some manage it as teenagers, others later and a few possibly never. Some get there gradually, others in leaps and bounds. It might take no conscience effort or be a tortured, soul-searching experience. It can take several attempts. For me, it was definitely late, bounding and tortured with false starts. 

“It’s a good career, accountancy. Stick at it. You’ll be all right once you’re qualified,” they said, but I was reading about people who had made their own way.

I was never going to chuck everything in for a Parisian garret or Scottish hermitage, but back came the idea of becoming a mature student: at university, not a return to Teacher Training College. The only way would be to take ‘A’ Levels again, a daunting prospect. I approached temp agencies to work flexibly while resitting them, and handed in my notice.

“Don’t cock it up again,” said one of the few supportive friends I had left, mock anguish on his face as he imagined the consequences.

“Course not,” I said with pretend confidence, not too sure.

One thing I am sure of though. A decade or so earlier there would have been no chance. In all likelihood, it would have been national service, back to where I came from, a mundane job and family responsibilities sooner rather than later. Ties. Restrictions. Few opportunities. I doubt I would get as many breaks now, either.

Review - V. S. Pritchett: A Cab At The Door and Midnight Oil

V. S. Pritchett
A Cab At The Door and Midnight Oil (3*)

I first picked up Midnight Oil by chance during a formative period around 1974 and was taken by Victor Pritchett’s determination to become a full-time writer. What would it be like to chuck your job to live in a garret in Paris? Would I dare do that? (Spoiler Alert – No).

V. S. Pritchett (1900-1997) was a British writer and literary critic known particularly for his short stories. He worked in a London leather firm until around 1920 when he took a job as a shop assistant in Paris. He later lived as a writer in Ireland, Spain and America, and was literary editor for The New Statesman.

These two volumes of autobiography tell of his nomadic early life around Edwardian London and Yorkshire (the family moved 18 times before he was 12), his work in the leather trade, struggling to write in Paris, his travels in Spain and his experiences in Ireland and America. He paints vivid, perceptive, meticulously observed character portraits of his larger than life relatives and others he knew over these years, although (possibly my fault) I was not all that interested in some of them.

The old-school prose demands a lot of concentration. Revisiting it again was something of a marathon but anyone interested in what it was like to grow up in the early twentieth century, or life abroad in the twenties and thirties, might find it fascinating.

see also: V. S. Pritchett's obituary in the New York Times


Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

Lonely Brown Hair

Was it for that wild man of the mountains look, the Chris Bonington, or that you were too lazy to get shaved in the morning?

Then came the snow: the unwanted single white ones, thicker and longer, waving out from the middle, to be summarily snipped out with the pointy scissors from the dissecting kit you nicked from school.

Later, there were more, too many more, giving that distinguished, salt and pepper, silver fox look, or so you liked to think. It was a glorious dappled thing, turning gradually, except for a couple of mucky patches near your ears.

Now it’s complete. Except, just now and again, just here and there, a few solitary warm brown strands poke out, fuelling vanity, cruelly taunting you about what it used to look like all over.

Does Chris Bonington get them too?

An earlier post about Sir Chris Bonington

Review - Keith Waterhouse: Billy Liar

Keith Waterhouse
Billy Liar (4*)

Another book from the list of those I should have read in my teens and early twenties, but didn’t because of the television we got when I was around twelve, which cut my reading from two or three books a week down to zero for the next ten years. I’ve never read the 1959 book, or seen either the 1963 film or the 1973 television series.

I could easily have become wrapped up in Billy Liar. He might have been me, or at least the rebellious subversive I wished I could be. You have to remember we were under the anarchic influences of The Who, Jethro Tull and Monty Python’s Flying Circus. Billy Liar would have been another

Billy lives in a dismal Yorkshire town, cares nothing for his job as a clerk, has only contempt for his parents and keeps three girls on the go at the same time. He tells outrageous fibs to suit his shifting impulses, acts out jokey sketches with a chum from work and escapes into fantasy where, among other things, he dreams of being a comedy writer. Almost me, except for the three girls on the go: wouldn’t chance have been a fine thing, even just one?

This was nineteen-fifties, working-class Britain, not quite on the cusp of the youth consumer boom, before the upsurge of opportunity, when people worked long hours and made do: such as with the old raincoat Billy uses as a dressing gown. There isn’t a television set or record player in sight, and an Italian-cut suit is the only mention of fashion. Remnants of this life were still around in the late nineteen-sixties when I left school for office work instead of university, especially in office work, but things were beginning to change. I had more choice and was able to get away. Billy couldn’t. I felt disappointed at the end when he bottles his chance and goes back to his home and job.

Keith Waterhouse is often described as one of Britain’s funniest writers. “I don’t mind dark satanic mills,” says Billy, “but by gum when it comes to dark satanic shops, dark satanic housing estates and dark satanic police stations –”, although Billy has no ending to this pre-prepared sentence (p90). He keeps one girl friend’s postcards from her trips to various places around the country because they are at least literate: “I felt mildly peculiar to be treasuring love-letters for their grammar,” he says (p19).

Some of Waterhouse’s descriptions remind me of his contemporary, Les Dawson:

It was quiet outside the Roxy. The evening was warm, but on the crisp side. The sodium lamps were beginning to flicker on and off, dismally. The old gaffers who manned the Alderman Burrows memorial bench at the abandoned train terminus were beginning to crane themselves stiffly to their feet and adjust their mufflers… (p142)

His mimetic rendering of Yorkshire accents is a joy:

Does ta think ah could climb down yon ashpit?
Nay, tha’d break thi neck, Councillor!
Aye, well ah’sll have to manage it, whether or no. Ah’m bahn down to t’ police station.
What’s ta bahn down theer for, then?
We’re pulling t’ bugger down.
Tha’s not, is ta?
Aye, we are that. All yon cottages anall … It’s all change. All change, nowadays. T’ old buildings is going. T’ old street is going. T’ trams, they’ve gone.
Aye …
It we’re all horse-drawn trams, and afore that we had to walk. It’s all change. T’ old mills is going. T’ old dialect, that’s going, … (p89)

I think I know where Monty Python got the idea from.

Many accounts of Billy Liar make more of his grand fantasies about the imaginary country of Ambrosia, but I found this merely a contextual element, one of several running through the book, a device now well-used by writers to milk for laughs.

Billy Liar is fun to read. It is one of the great nineteen-fifties novels which, along with others by Alan Sillitoe, Kingsley Amis, John Braine, Stan Barstow and others, paved the way for a new style of fiction. Waterhouse’s later novel, Billy Liar on the Moon, set in the nineteen-seventies, might be a good follow up.



Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

Ontogeny Recapitulates Phylogeny

Haeckel’s 1874 drawing of stages of development in the embryos of
fish, salamander, turtle, chick, pig, calf, rabbit and human.

Professor Clarke stood at the blackboard with assured elegance. It was not just the beauty of his layout and lettering, it was the poise of his whole demeanor. Arm outstretched, extending exactly the right proportions of wrist and cuff beyond suit sleeve, he grasped the chalk delicately between thumb and forefinger, and with an economy of effort, calmly progressed through his lecture. What a privilege to be in the presence of such a highly esteemed international reputation.

He was talking about pre-natal and neo-natal human development: physical and mental growth before and around birth. He concluded with a short quotation. None of us quite caught it. He said something like: “Antigen capital file genre.”

In those days students weren’t given all the slides and notes on the internet to learn and parrot back in examinations. We used to read around lectures. We went to the library and made notes from text books and academic journals. We even owned quite a lot of expensive text books ourselves. So before long I worked out that what he had actually said was: “Ontogeny recapitulates phylogeny.” Furthermore, I understood what it meant: a chunk of lecture succinctly summarised in three words.

The point is, as became clear when we later learned about how we acquire the power of speech and language, if we don’t understand something, if we cannot make sense of how the words fit together, we find it difficult to say. Think of the novelty song Mairzy dotes and dozy dotes and liddle lamzy divey.

Twenty years later the children were laughing.

“I bet you can’t say “Peter Piper picked a peck of pickled peppercorns,” said my wife, and recited the full verse, faultlessly. She followed it with “She sells sea shells …” as an encore.

“The British soldiers’ shoulders,” I added, not to be outdone. “The Leith police dismisseth us,” and then out of nowhere, “ontogeny recapitulates phylogeny.”

Within a few days my eight year old son had got it. “Ontogeny recapitulates phylogeny” he would tell anyone who would listen. At school, he was in Mr. Price’s class.

“Hello Mr. Price,” he said. “Ontogeny recapitulates phylogeny.”

“Aunty Jenny was late for what?” queried Mr. Price.

“It means when a baby grows in its mummy’s tummy, it starts off like a little tadpole, and then looks like a little frog, and then like a little bird, and then a little horse, and then a little monkey, and then a little baby.”

That guy recently passed all his law exams.

What a pity that Meckel and Serres’ theory of embryological parallelism, perfectly encapsulated in Ernst Haeckel’s catchy phrase, illustrated by his somewhat dishonest drawing and so urbanely recapitulated by Professor Clarke, has been discredited as biological mythology.


Haeckel's 1874 illustration of embryos is out of copyright.

Review - Two Early Campus Novels

Kingsley Amis: Lucky Jim (1954) (4*)
Malcolm Bradbury: Eating People is Wrong (1959) (2*)

I used to enjoy campus novels – stories about university life – immensely.

As a mature student, I soaked up the BBC’s 1981 adaptation of Malcolm Bradbury’s The History Man with Anthony Sher as Howard Kirk, gripped by the unconstrained, free-thinking lifestyle it portrays, and wanted it for myself. Not until I read the actual novel many years later did I realise what an objectionably selfish snake the anti-hero is.

Later, having somehow pulled-off the unlikely trick of getting a job in a university, I was greatly entertained by David Lodge’s campus trilogy, Changing Places, Small World and Nice Work, written in the nineteen-seventies and nineteen-eighties. There was a lot in the wranglings between staff, pointless activities and scrabbling for advancement that rang true, as did the chaos lower down the academic hierarchy depicted in Tom Sharpe’s Wilt which I experienced first-hand on moving to a Polytechnic.

In recent weeks I have been catching up on two early campus novels from the nineteen-fifties: Kingsley Amis’s Lucky Jim and Malcolm Bradbury’s Eating People is Wrong. Both books are very much of the nineteen-fifties in the social attitudes they portray. I guess they helped frame the way we thought of provincial universities during the nineteen-sixties when I was at school, unsuccessfully applying through UCCA.

Lucky Jim (1954) was for me the most enjoyable of the two. It ages well and is often hilarious. As David Lodge points out in the introduction, the humour comes not only from Amis’s wonderful comic timing in the handling of situations, but also from his original, educated but classless writing style, which often makes use of original twists to everyday turns of phrase:

To look at, but not only to look at, they resembled some kind of variety act…

He’d found his professor standing, surprisingly enough, in front of the Recent Additions shelf in the College Library…

Consciousness was upon him before he could get out of the way.

I found myself sympathising with the predicament of misfit young lecturer Jim Dixon, and felt very satisfied at the end when he walks off with the girl and everything else. However, many of the comic situations, for example when Dixon accidentally burns holes in his Head of Department’s bedsheets whilst staying at his house, and his subsequent attempts to conceal the damage, could be in any comic novel rather than one specifically set in a university. It could be from a Brian Rix Whitehall farce. I might well look out for more by Kingsley Amis.

Eating People is Wrong (1959) I found less than satisfactory. It concerns the prematurely old-fashioned Professor Treece and his difficulties in making sense of the changing post-war world of the nineteen-fifties. There are too many characters, none very likeable, most under-developed, too many switches of viewpoint from the thoughts, opinions and dilemmas of one to those of another and then to those of the author, and a tendency to tell rather than show – all the things that writing experts say you should avoid, but who are they to find fault with the acclaimed founder of the famous MA in Creative Writing course at the University of East Anglia? It is no real defence that these things appear to be conscious and deliberate.

I suppose the novel resembles university life where people fall into and out of each others’ lives without reaching any kind of resolution, to an incessant background buzz of brilliant yet pointless wordplay. Much of the dialogue would not be out of place in an Alan Ayckbourne play. Perhaps it tries too ostentatiously to be clever by trying to generate too many epigrammatic quotations, and twists and turns to accepted clichés:

With sociology one can do anything and call it work.

... it had always seemed to Louis that a fundamental desire to take postal courses was being sublimated by other people into sexual activity;

… if you are interested in [old] houses, you know what the world is like and it is not like you.

… soon it won’t be necessary to go to America. It will all be here.

After nearly two hundred pages of nothing much happening, a subversive writer called Carey Willoughby arrives to give a talk and declares: “With my sort of book there’s no resolution, because there’s no solution. The problems aren’t answered in the end because there is no answer. They’re problems that are handed on to the reader …”

Was Bradbury referring to himself?

Having grasped all of this, scoring it two stars is mean. I’m sure I would get more out of it on slow second reading, but life’s too short.


Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Review - Chris Bonington: Ascent

Chris Bonington
Ascent: a life spent climbing on the edge (3*)

You could say Chris Bonington was one of my influences. I spent too many nineteen-seventies lunchtimes in Leeds Compton Road Library lost in the heights of I Chose to Climb and The Next Horizon, a tranquil refuge from accountancy. I acted them out on walks in Derbyshire, Scotland, the Yorkshire Pennines, the North York Moors, Iceland, Norway, France and Switzerland, an undue comparison, but I longed to be like him: all that climbing and writing. I bought a minivan, grew a beard, scrambled up mountains and tried to write things.

Ascent is Chris Bonington’s definitive autobiography. Much of the content is covered in his earlier books, but, gosh, what a story! As the cover blurb says, it reads like the pages of an epic saga.

The trouble is, to the non-specialist, one mountaineering expedition sounds much the same as another, even down to the extent of the senseless deaths: John Harlin on the Eiger, Ian Clough on Annapurna, Mick Burke on Everest, Dougal Haston skiing in the Alps, Nick Estcourt on K2, Pete Boardman and Joe Tasker on Everest. Their bodies often remained where they died. Bonington describes encountering Hannelore Schmatz on Everest in 1985, “sitting upright in the snow, sun-bleached hair blowing in the wind, teeth bared in a rictus grin,” where she had died of exhaustion descending from the summit in 1979. A sane person could only conclude that trailblazing mountaineering is an idiotic venture.

Bonington writes in a matter of fact way. His narrative and descriptions are vivid enough, but you would be hard pressed to find a simile or metaphor anywhere in the book. It is autobiography not memoir, an accurate account of places, people and events rather than an impression or reaction to them. He comes across as self-centred. The first person “I” must appear at least 6 times on every page (as on this one!), more than twice that on many. Yet he does not dwell on things. He is like a climbing machine with little time for imagination or self-reflection, even when writing about personal loss. At the end of the day, anyone who manages to climb the Old Man of Hoy at eighty remains an inspiration, but I’m glad I’m not like him at all. 



Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

The Ascent of Man

Man is a singular creature. He has a set of gifts which make him unique among the animals: so that, unlike them, he is not a figure in the landscape – he is a shaper of the landscape.

Everyone needs at least one role model to inspire them: probably more – different role models for different roles. One of mine came in the unlikely shape of a little man with glasses who dressed like my grandfather and had trouble pronouncing his ‘r’s.

How could anyone be so clever? How did Jacob Bronowski’s life come to be filled with such grand ideas while mine was littered with the tedious transactions of budgets and profit margins? Why was his world populated by brilliant minds while I shared mine with dreary accountants and businessmen? Why couldn’t I shape the landscape rather than being just a figure within it? I wanted to be an omniscient polymath too.

I missed most of Bronowski’s momentous thirteen-part BBC television series The Ascent of Man when it was first broadcast on Saturday evenings between April and July, 1973. I would have been out at the pub. Even when it was repeated at the end of that year, twice a week on both Thursdays and Sundays, I doubt I caught it all. But it affected me profoundly.

Bronowski was passionate and mesmerising, with fascinating hand gestures. He spoke straight to the camera in precise sentences for minutes at a time without background music, rapid cuts or unnecessary images. Yet he held your attention. He gave us a warm, intelligent, gimmick-free exploration of science and humanity. It was unsettling that a single individual could be so knowledgeable about so many varied subjects, from architecture to evolutionary biology, from poetry to relativity. When he appeared on other programmes, such as Parkinson, you realised he was not reading a script. The breadth of his knowledge and understanding were genuine. 

I bought the book. I read it, and then read it again. I knew all thirteen chapters. Turning through the pages now brings back so many fascinating things: the flying buttresses of Rheims Cathedral where the building hangs like a cage from the arched roof; the Peruvian city of Macchu Picchu; a demonstration of the Pythagorean proof in the sand by drawing real squares on the hypotenuse and the other two sides; the coloured shafts of the spectrum that beamed out of Isaac Newton’s “Triangular glass-Prisme”; Gregor Mendel choosing to test for seven differences between peas when he could not have known that the pea had just seven chromosomes; the surreal massive model head, several metres across, that was detectable by a radar scanner while the real man standing beside remained invisible to its long electromagnetic wavelength.

Of course the answer to the riddle of Bronowski’s erudition, as he himself might have said rhetorically, is that the man was a genius. When the television series was repeated again in 1975, I saw every episode, and something else then struck me. It was that Bronowski’s journey through science was personal and autobiographical. He recalled his own moment of revelation around 1950 when he was working on a mathematical model of the teeth of an Australopithecus baby, the Taung skull, to discriminate them from the teeth of apes, when, “... having spent a lifetime doing abstract mathematics about the shapes of things,” he said I “... suddenly saw my knowledge reach back two million years and shine a searchlight into the history of man.” From that moment his commitment moved from the abstract to the human.

He was able to talk about periods in his career when he had collaborated with other people of genius. He had known Einstein, Daniel Lehrman, James Watson, Leo Szilard and John von Neumann. He spoke of them with fondness and enthusiasm.

He remembered Einstein’s lack of materialism in lecturing at Cambridge in an old sweater and carpet slippers with no socks. He talked of afternoons spent with Leo Szilard at the Salk Institute in California, and recounted a tale about the moment when, in a mental flash, Szilard conceived the idea of the nuclear reactor. He had stopped at a red light, and before the light had turned green had realised that if you hit an atom with one neutron, and it broke up to release two, then you would have a chain reaction. The only improbable part of the story, said Bronowski, is that “I never knew Szilard to stop for a red light.”

Bronowski described John von Neumann, the founder of game theory and computing science, as “the cleverest man I ever knew,” and “a genius, in the sense that a genius is a man who has two great ideas.” He shared an anecdote of how, during the war, after they had been discussing a particularly difficult nuclear problem, he had telephoned von Neumann early the next morning to tell him he was right, and von Neumann complained that he only wanted to be telephoned early in the morning to be told when he was wrong.

This anecdote served to illustrate how von Neumann was in love with what Bronowski called “the aristocracy of the intellect”, with which he fundamentally disagreed and considered dangerous. What we need, he argued, is “democracy of the intellect”, where knowledge sits with people who have no ambition to control others. Elsewhere, in what is perhaps the most often repeated sequence from the series when he walks into the pond at Auschwitz crematorium and scoops up the mud of human remains, he talks of the dogma and arrogance that comes from a false belief in absolute knowledge. He talks about the devastation of Hiroshima. It was a moral and ethical lesson that all knowledge is imperfect. Bronowski would surely have been dismayed by the Monty Python quip that he knew everything.

Even today, despite subsequent developments in computing, neural imaging, molecular biology, robotics, and so on, his book and series remain an exemplar of intelligent broadcasting. I was in awe and in envy. His intellect ranged across areas as diverse as literature, poetry, art, architecture, chess, mathematics, nuclear physics and biology, and yet he retained a deep sense of humility.

It was unsettling. From that time I wanted to embark upon my own version of his personal journey, starting by going to university. It felt a failing not to have been. I was drawn towards the ideas Bronowski had talked about: the human sciences, cultural evolution, psychology, sociology and anthropology. I had no idea where it might lead except that it would be a step in the right direction. At twenty-four, without university entrance qualifications, when it was not easy to get in, when completing a degree was just as difficult, it seemed a mountain to climb, but I knew I had to try.


* Use of the image of Jacob Bronowski and the cover of ‘The Ascent of Man’ is believed to constitute fair use. 

Jacob Bronowski
The Ascent of Man (5***)
When I read The Ascent Of Man again in August, 2015, I gave it a book review rating of 5*** because I had indeed read it over and over again, possibly six times, since I bought it in 1975, through which it became of considerable personal influence. I noted that reading it yet again, it may have lost a little of its freshness, but I remained in awe of Bronowski's encyclopaedic knowledge and ability to explain things. I keep wondering whether to buy the DVDs, or whether that would spoil it for me.



Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.