The Ascent of Man

New Month Old Post: First posted 21st March, 2016

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 looked 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-Prism”; 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 visible to 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 of others, 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.


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.

Signal Boxes

Another of my railway books. It would be hard to out-nerd me on this one: Lancashire and Yorkshire Railway Traffic Control Maps, Volume 3 Yorkshire 1895, by T. T. Sutcliffe. It is a book of sketch maps and other details about signal boxes on the Lancashire and Yorkshire Railway. 

It is mainly maps and tables. One of the simplest maps is of our local line between Shepley and Penistone. To the North, it continues to Huddersfield, and in the opposite direction from Penistone, after initially turning West, it continues South and East to Sheffield Victoria or Barnsley. 

At Penistone we can also see the junction to the Woodhead Tunnel route to Manchester, which closed to passengers in 1970, and completely in 1981. The Yorkshire section is now a cycle path, and trains between Penistone and Sheffield are diverted through Barnsley, increasing the journey time from about 15 minutes to an hour. Sheffield Victoria railway station is also now no more. 

The map also shows the branch to Clayton West which as well as passengers, also carried coal. Building a tunnel on the line involved shattering large quantities of slate at Skelmanthorpe, which is still known locally as Shat. The branch line closed in 1983, and the track bed is now used by the volunteer-run narrow-gauge Kirklees Light Railway, a tourist attraction. 

The book contains few photographs, and the few there are make the book even more esoteric because they are all of signal box architecture. One shows the Clayton West Junction box which is close to the top of the sketch map. According to the text, this box is of interest because of the unusual design of the eaves. The Note 8 referred to, gives details of the original designer. I told you it was nerdy. To find images of wider interest you have to look on the internet. 

As well as the maps, the book lists all signal boxes (or cabins as the author prefers to call them) in the region, together with statistics such as their sizes and the number of levers they contain. The map symbols mark bridges, tunnels, level crossings, water troughs, and other features. Signal boxes are named and shown as a circled cross. 

The book also covers other lines I know well: such as around Huddersfield and Leeds, and the journey I used to make regularly between Goole and Leeds through Rawcliffe, Snaith, Knottingly, and Methley Junction when I first started work. Some maps are much more complicated, such as Wakefield. Mainly for my own interest, here is the Goole page. 

But instead of more signal box maps and images, I would rather show this enormous and incredible mural (widely available on the internet) at Manchester Victoria station, which shows the Lancashire and Yorkshire Railway network from Liverpool to Hull. It is thought to date from 1904. How’s that for a Monday mural, Andrew in Melbourne (High Riser)? Enlarged (open in new tab), the whole network can be made out clearly.  

I also like the lists of shipping destinations, especially from Goole. The railway company had its own fleet of Lancashire and Yorkshire steamers, nicknamed the “Lanky Boats”. Goole was once around the tenth busiest port in the country (by tonnage), and a small crowd used to assemble each tide time on the Lock Hill to see the ships coming up and going away. 

This is Volume 3 of 4, Yorkshire 1895. Volumes 1 and 2 are Lancashire 1895 and 1922, and Volume 4 is Yorkshire 1922.They were published in the early 1980s. It must truly have been a labour of love, and I can only admire the creator of something so focused and detailed.  

My Picture Book of Ships

New Month Old Post: first posted 25th July, 2016

On the bottom shelf of my dad’s bookcase were some of his childhood books. He was nearly as daft as me for keeping things. There might have been many more treasures but for mum’s propensity for throwing things away, although the bookcase was sacrosanct, even to her.

I always knew he had them, of course, but never took the time for anything more than a superficial glance at the pictures. He must have treasured them greatly. All have his name and address inside and some also the date.

The earliest and most dilapidated is My Picture Book of Ships which he got in 1926 at the age of five. To a child at that time the cover must have looked thrilling: the vast bulk of the ocean liner soaring proud above the waterline, the towering hull and funnels, the dense spray from the bow-wave hinting at the rumbling power of the great engines and propellers, the huge anchor tight against the ship’s side. People yearned to travel in the luxury of these floating palaces. They were the dream machines of their day: the supersonic jets, the Lamborghinis, the spaceliners, the high speed trains, the earth moving machines, the ice road truckers. Even their names implied substance and opulence: Majestic, Britannic, Olympic, Leviathan, Edinburgh Castle.  

We used to look at it together when I was little. We studied the sixty-two illustrations but never read it. The text tells of two children, Tom and Betty, who ceaselessly ask Father questions about ships. They also play at ships: Tom is Captain and Father the pilot, while Chief Officer Mother sleeps “on watch” below and poor Petty Officer Betty gets ordered around.

Father of course answers all their questions patiently, knowledgeably, and at length. He tells them about how the voyage of an ocean liner is organized, how sailors are trained, shipbuilding, shipwrecks, coal and oil power, sail, cargo vessels, lifeboats, lighthouses and lightships, paddle steamers, and ferries. How he knew all this stuff is not clear. He just did. Perhaps he was a seaman himself, or maybe like my own dad his grandfather had been a Captain and his cousin was at sea. Oh yes, all dads knew everything there was to know about ships; especially when they had grown up in a Yorkshire port.

Dads could describe and explain all the pictures: cargo being unloaded at London docks, the Harwich-Zeebrugge railway ferry with wagons on board, a big ship under construction inside a massive gantry, and boys lining a high mast at a sailors’ training school. I certainly would not have wanted to have been the baby thrown through the air to a lifeboat in a rescue at sea. My dad used to pick me up and pretend to act it out.

But that is not what used to frighten me most. I was terrified of the strange double-page cartoons inside the front and back covers. Why a factual book about ships should contain such irreverent drawings is a mystery. They are not even proper ships. They show traumatised people in canoes, punts and rowing boats on an overcrowded river, being attacked by pigs, cows and swans, knocked overboard by clumsy oarsmen or tormented by badly controlled fishing lines. They all have ugly ears, gaping mouths and grotesque faces. I could never bear to look. It is still difficult now.

As Nick Ross used to say: “Don’t have nightmares. Do sleep well.”

My Picture Book of Ships published by Ward Lock & Co. (c1922) is believed to be out of copyright.

The R100

New Month Old Post: first posted 10th July 2016.

In his autobiography, Slide Rule, the author Nevil Shute (1899-1960), a man of his time with attitudes to match, remembered working as an engineer on the R100 airship during its construction at Howden in Yorkshire in the nineteen-twenties. Much of the workforce consisted of local lads and girls trained to carry out riveting and other tasks high up in the ribs and spines of the airship skeleton. Of them he writes:

The lads were what one would expect, straight from the plough, but the girls were an eye-opener. They were brutish and uncouth, filthy in appearance and in habits ... these girls straight off the farms were the lowest types that I have ever seen in England, and incredibly foul-mouthed ... we had to employ a welfare worker to look after them because promiscuous intercourse was going on merrily in every dark corner ... as the job approached completion ... we were able to get rid of the most jungly types. 

Jungly types? That is my maternal grandma you are talking about, Nevil, and her friends and cousins. They never had the chance to be privately educated and scrape through Oxford with a bad degree. While your evenings and weekends were spent dancing, playing badminton, flying aeroplanes and writing novels, they were toiling away tending crops and animals from their damp and dingy dwellings. Better check your privilege. 

And, how come the lads were “salt-of-the-earth, vital rustic types”, while their sisters were “jungly beyond vulgarity”? How was it different from when you were in the army? 

The language of the men was no novelty to me, of course, and I could out-swear most of them, but their attitude to women was shocking... 

Workers at Howden, high up in the ribs and spines of the R100 skeleton.

Both my parents had memories of the R100. My mother’s mother worked there for a short time, and had a small, airship-shaped piece of duralumin silver metal, around an inch and a half long (4cm) and flat on one side. It was from a batch of airship brooches unfinished when they ran out of metal. She gave me it as a toy and it became an imaginary submarine. 

My dad remembered going to see the R100 in its construction shed at Howden. His dad borrowed the Model T van from work to drive there across the newly opened Boothferry Bridge. He said that the river was swollen by floodwater. Looking up in the shed, the airship was so big my dad could not see it. At 700 feet long (220m) and 130 feet in diameter (40m), it was around the size of two rows of twenty-five terraced houses with front gardens and a road between. He thought he was looking up at the roof.

The R100 in its construction shed at Howden
with one of the control gondolas hanging from the airship
which my dad thought was the roof.

The R100 squeezed out of its shed and left for Cardington in Bedfordshire in December, 1929. It was one of two airships built in competition to explore the possibility of commercial flights to Canada, India, and Australia, then still too far for aeroplanes to carry heavy loads. The other was the R101 built at Cardington. 

No more large airships were built in Britain. The R100, the better of the two, made a successful flight to Canada and back in 1930, crossing the Atlantic in three days. Rather than admit defeat, the R101 team attempted a premature flight to India, but the airship hit the ground and caught fire in France in October, 1930, with the loss of 48 lives. The airship project was abandoned and the R100 broken up for scrap. Large airships were built later in other countries, such as the Hindenburg in Germany, but these also ended in disaster. They were filled with hydrogen. 

The R100 over Montreal, August, 1930.

Wainwright’s Mardale Green

Rosemary (Share My Garden) wrote about her visit to Tyneham, a village in Dorset abandoned in the Second World War because it was in an area needed for military training. The residents never returned.

She also remembered, as a child, picking gooseberries in the garden of a house in a village abandoned to the rising waters of a new reservoir.

Mardale Green

It reminded me of a passage in ‘Fellwalking With Wainwright’, which has haunted me since I bought the book in 1985. I think of it often. Oh to be able to write like Wainwright. 

I will never go to Mardale Head now without thinking of a summer’s day more than forty years ago when I walked over Gatescarth Pass and saw the valley of Mardale for the first time. It was a lovely vista. The floor of the dale was a fresh green strath shadowed by fine trees and deeply inurned between shaggy heights; beyond, receding in the distance, was Haweswater, then a natural lake. It was a peaceful scene, the seclusion of the valley being emphasised by its surround of rough mountains. Mardale was a bright jewel in the dark crown .... I remember that day so well. Many early memories have faded, but not that one. Down in the valley, I went along the lane to the Dun Bull between walls splashed with lichens and draped with ivy. There was no welcome for me at the inn, which for centuries had been a meeting place for farmers and shepherds and the scene of many festive gatherings. It was empty, unoccupied. Around the corner was the small church amongst fine yews: it was a ghostly shell, the interior having been dismantled and the bodies in the graveyard exhumed and reburied elsewhere. The nearby vicarage and a few cottages were deserted and abandoned. This was the hamlet of Mardale Green, delightfully situated in the lee of a wooded hill, but now under sentence of death. Birds trittered in the trees and my footsteps echoed as I walked along the lane but there was no other sound, no sign of life. Even the sheep had gone. There were wild roses in fragrant hedgerows, foxgloves and harebells and wood anemones and primroses in the fields and under the trees, all cheerfully enjoying the warmth and sunshine; but there would be no other summers for them: they were doomed ... Manchester Corporation had taken over the valley and built a great dam. The lake would be submerged beneath a new water level a hundred feet higher. Already the impounded waters were creeping up the valley. Soon the hamlet of Mardale Green would be drowned: the church, the inn, the cottages, and the flowers, would all disappear, sunk without trace, and its history and traditions be forgotten. The flood was coming and it would fill the valley. Nature’s plan for Mardale would be over-rules. Manchester had other plans, to transform Mardale into a great Haweswater Reservoir. And no doubt be very proud of their achievement ... I climbed out of the valley to Kidsty Pike. Looking back at Mardale Green from a distance, its buildings no longer seeming forlorn but cosily encompassed by trees and its silent pastures dappled by sunlight, I thought I had never seen a more beautiful picture. Nor a sadder one.

Days of Wine and Roses

(New month old post: from “Reel-to-Reel Recordings” posted 24th December 2014)

 

Dad turns to the microphone on the mantlepiece, clears his throat, and adopts a suitable air of gravitas.

“I will now read some of my favourite poetry”.

The sound of muted giggling emanates from me and my brother sitting on the floor next to the tape recorder.

“Ernest Dowson’s Vitae Summa Brevis,” he announces.

The whispering in the background becomes audible.

“What’s he on about?”

“He says Ernest Dowson had some Ryvita for his breakfast.” More snorting and sniggering. Dad continues.

“They are not long, ...”

“What aren’t? Is our Sooty’s tail not long?”

“... the weeping and the laughter, love and desire and hate...”

The disruption intensifies as Mum bangs on the window and shouts something muffled from the yard outside. Dad struggles to keep going.

“I think they have no portion in us...”

The door curtain is swished back, and Mum enters the room and interrupts loudly.

“When I tell you to oppen the door, you oppen the door. And when I tell you your dinner’s ready, it’s ready, and you come straight away.”

The recording ends.

Would Ernest Dowson’s melancholy poetry and vivid phrases ever have emerged from out of his misty dream in such an unsupportive, philistine family?

Mature Student

Little remembered in these memoirs is my three years as a mature student at Hull University, and so it will remain. I enjoyed it immensely, but it was clouded by relationship issues, best forgotten.

Otherwise, the course was everything I could have hoped for, full of exciting ideas and ways of thinking about the world. It was both literate and numerate, examining competing theories and their supporting evidence, along with experimental design, statistics and data analysis.

Psychology was a diverse, well-rounded subject in those days. The popular belief that it dwells on people’s oddities is mistaken. It is a rigourous, scientific discipline. To give some idea of this, among my favourite topics were: how we acquire and learn to use language, how intellectual development changes with circumstances, the transmission of learning within groups of primates, Richard Dawkins’ ideas about The Selfish Gene, and the concept of life as an agent of negative entropy.

What I did not anticipate was that, of the 68 on the course, around 15 of us would be over the age of twenty-five, with more over twenty-one. The department took a favourable attitude towards mature students, and accepted a larger than average number each year. Some, like me, were looking for a complete change of career. Others were psychiatric nurses hoping to move into clinical psychology. There were mothers with children at school, taking the opportunity to get a degree. The upshot was, unlike the term I spent in teacher training, I had no sense of being older or out of place.  

We had a good time socially. As mature students, we could join the research students’ association, which had its own bar in a quiet part of the campus. Although these were still the days of strict licensing hours, one of us got elected on to the committee, with keys to the bar, and it was not unknown for drinks to be served after it should have closed for the afternoon. A couple of alcoholic lecturers became regulars, and their insights into how to play the academic game were invaluable. One was so bright, he had more than once got through to the finals of The Times national crossword competition. “Never again in your lives,” he said one day, “will you belong to such a group of intelligent well-informed people”. He may have been right.

I was well-aware how privileged and different it was from my previous existence. People in Leeds would still be slaving away at desks from nine in the morning until half past five at night in dingy offices, wearing uncomfortable suits, shirts and ties, peering at columns of numbers, contributing to the economy. Meanwhile, I was answerable only to myself, responsible for my own workload. There was no one to tell me to get up in the morning. I began to question what I was doing. Was it to be just an interlude from reality, a self-indulgent privilege? I stopped spending so much time in the research students’ bar, reworked the parts of the syllabus I found difficult (such as statistics) and applied myself properly. 

I applied the techniques and strategies that had worked so successfully at ‘A’ level: taking care to know what was expected, and being well-prepared by reworking lecture notes and reading around the topics.

One favourite place to work was beside the windows at the top of the university library, a wonderfully bright and quiet place with panoramic views to distant Lincolnshire. I watched the Humber Bridge suspension cables being spun.

        From the seventh floor, you can see England.
        Hull and East Riding,
        Holderness hiding,
        Humberside siding,
        Seems oh so small then.
        But we can see it.
        We live there.

        From the seventh floor, you can see Hull.
        River suspended,
        Towers up-ended,
        No part of the city
        The University.
        But we can see it.
        We work there.

        From the seventh floor, the campus.
        And there, by the way,
        Beside the pathway,
        In earth-science attic,
        All looks so static.
        But we can see it.
        We are there.

        From the Psychology tea room you can see sod all.
        Try as we’re able
        From coffee-cupped table
        To reach a perspective,
        The viewpoint’s defective.
        But can we see it?
        What do we there?

I graduated with a good degree. Three years reading textbooks and journal papers provides an ‘enriched environment’ that improves your ability to handle abstract ideas. Books I found demanding before university now seemed straightforward. I gained the confidence to set my own aims and ambitions rather than those I imagined others wanted for me. 

What to do next? I explored becoming a probation officer. I could have gone back to accountancy and made a success of it. But influenced by reading, particularly Christopher Evans’ ‘The Mighty Micro’, I went on to a one-year Masters degree in computing at UMIST, Manchester. Many thought computing and psychology unlikely bedfellows, but it led to a career along what is actually quite a fine line between the two subjects. 

'A' Level English 1977

New Month Old Post: first posted 19th May 2016

Park Lane College tried to put me off. They maintained the one-year course was only for re-sit students and that the two-year course was more suitable, especially as I had not studied English Literature at any level. Somehow I talked my way in. 

It was one of the most difficult courses I have ever done. Selecting and organising all the quotations, literary criticism and conflicting viewpoints into examination-usable form was gruelling, but it was interesting and enjoyable as well, and developed useful skills for later. It was certainly an intense experience because I can still picture the classroom and where we all sat: me at the back.

Most on the course were indeed re-sit students, mainly girls in their late teens, and as late as 1977, in Leeds, there was only one non-white student. The token teenage lad worked at the tax office and told gleeful tales about the persecution of wayward taxpayers. But there were other older first timers. There was an aloof social worker who gazed contemptuously out under her Joanna Lumley ‘Purdey’ fringe and exchanged hardly more than a dozen words with the rest of us all year. There was a bearded chap in his early thirties who said little more, yet managed to give the impression he knew everything already. And luckily, there was a kindred spirit also aiming for university. His grasp of the coursework, huge vocabulary and sweeping command of the English language put mine to shame. It was enormously helpful to be able to discuss things with someone of similar aims and interests.

The syllabus in those days offered enormous, some would say excessive choice. You could get away with covering just two out of three Shakespeare plays, one out of three longer poetic works and four out of sixteen set books. So that’s all we did. It would have been silly to try to cover everything. The course leader, Jonathan Brown, pared things down to what could be achieved in a year. Even within these bounds the exam paper offered a choice of questions.

Do they still let you take the question papers home? They did then, so here they are (click to enlarge images, or get them in PDF form here).

ENGLISH LITERATURE PAPER I (3 hours)

Section A: Shakespeare – Julius Caesar, Othello and The Winter’s Tale.  

The rubric was complicated but essentially you had to answer three questions covering at least two of the three plays. In other words you could get away with studying only two. We did Julius Caesar and Othello.

First, you had to answer either Question 1 or Question 2, above, which quoted passages from the plays and asked you to address specific issues relating to them. It looks like I did the Julius Caesar part of Question 2.

Then, questions 3, 4 and 5 were discussion questions on the three Shakespeare plays. You had to do two, but each offered an either/or choice. I did 3(a) on Julius Caesar and 4(b) on Othello.

From the notes made after the exam on the first page, it seems I estimated I had got no more than a C in this paper.

Section B: Longer Poetic Works.

There were three set texts: Pope’s Epistle to Dr. Arbuthnot, Wordsworth’s The Prelude and T. S. Elliot’s East Coker and Little Gidding, with one question on each. As you had to answer just one of the three questions, we only studied Pope’s Epistle.

Again, there was an either/or choice within each of question. It looks like I did 6(a).

ENGLISH LITERATURE PAPER II (3 hours)

Novels, Plays and Poetry: four from sixteen set texts.

The syllabus offered sixteen different works, but the examination only required you to answer questions on four, so we covered only four: Jane Austen’s Persuasion, the selected poems of Gerard Manley Hopkins, the poems of Wilfred Owen, and Arthur Miller’s plays A View from the Bridge and All My Sons. Again, the paper had an either/or choice within each question. I think I answered questions 7(b), 10(a), 12(a) and 14(b).

The other twelve items on the Paper 2 syllabus were parts of Chaucer’s The Canterbury Tales, Marlowe’s Dr. Faustus, Webster’s The Duchess of Malfi, Metaphysical Poetry, Defoe’s Moll Flanders, Sheridan’s The Rivals and The School for Scandal, Keats Lamia and other poems, George Eliot’s Middlemarch, James Joyce’s A Portrait of the Artist as a Young Man, Poetry of the Thirties, Patrick White’s The Tree of Man, and Beckett’s Waiting for Godot.

ENGLISH LITERATURE PAPER III (2 hours)

Literary Criticism. Two compulsory questions quoting passages from unnamed works followed by lists of points to be addressed.

Paper III was the joker in the pack, impossible to prepare for fully in advance. I really thought I had messed this up.

Question 1: two poems. With the help of the internet I can now identify them as John Stallworthy’s A Poem about Poems About Vietnam, and Seamus Heaney’s The Folk Singers.

Question 2: a passage I recognised in the exam as being from George Orwell’s The Road to Wigan Pier. I remember timidly deciding not to say I knew what it was. I don’t know whether you got extra marks if you did. 


Looking back over forty years, Gerard Manley Hopkins’ poetry left the strongest impression. I can still quote Pied Beauty by heart. A lot of people find his poetry dense and unintelligible, so it was a real privilege to be able to take time to dissect and understand his ‘conglomerate epithets’ and obsession with the different roots of the English language. His lines still come back both in moments of elation and despair.
 
Wilfred Owen too, remains familiar from his regular outings in television programmes and newspaper articles about the First World War. Years later, attending a conference at the Craiglockart campus of Edinburgh Napier University, I could not help but be aware that this was where Owen and Siegfried Sassoon had been treated for shell shock almost a century earlier. Sitting on the lawn in front of the main building, eating lunch in the sun, I imagined they might once have done exactly the same, discussing poetry during Owen’s brief respite from his doomed youth. Sadly, the topic of our own lunchtime conversation was computing.

Arthur Miller revealed a great deal about how plays are put together. I later felt there were more than just situational similarities between the film Saturday Night Fever and A View from the Bridge, although to be strictly accurate they were different bridges.

I was astonished by Alexander Pope’s verbal dexterity and can still remember chunks of the Epistle.

On the other hand, despite my enthusiasm at the time, I am ashamed to say I read no more Shakespeare. I know he was myriad-minded, but it takes effort, and I became too tied up with other things to try.

The same is true of Persuasion, despite the once-or-twice stand-in teacher at Leeds Park Lane College, Mr. Trowbridge, declaring that whenever he felt disheartened there was no better remedy than to go to bed with Jane Austen. He even got a laugh from us with that one.

Too Much Television

New month old post, originally posted as part of a longer post on the 19th September 2014. The other part of which was used at the beginning of last month.

We weren’t the last, but late enough for others to exclaim in disbelief: “What! You really don’t have a television?”

Dad thought them a mindless waste of time. After hours talking at work, he was happy to settle down to a book, or poetry, or his bible readings from church, or the B.B.C. “Book at Bedtime”. Mum, when not finishing housework, would be knitting, reading novels from the library or learning lines for her twice-yearly parts with a local drama group. I got through two or three library books a week too, and still had time for other worthwhile activities, not to mention homework. No one needed a television. There was always plenty to do. We were one of the last to have an X- or H-shaped aerial on the chimney stack.

My first viewing memories are therefore all on other peoples’ sets: school friends, the neighbour who regularly invited Mum, with me in tow, to watch ‘Val Parnell’s Sunday Night at the London Palladium’, another relative who let me watch football cup finals on Saturday afternoons, and one of my Mum’s aunts where I went once a week after school for tea. I remember the now forgotten Don Arrol’s brief stint as Palladium compere when he stood in for the ill Bruce Forsyth in 1960, the 1958 FA cup final when Bolton Wanderers beat a tragically depleted Manchester United after the Munich air disaster, and seemingly no end of escapist adventure series on Granada Television which was then the newly-licenced commercial provider for the whole of the North of England.

How many can you remember? How many theme tunes can you still sing? There was ‘The Lone Ranger’, ‘Bonanza’, ‘Rawhide’, ‘The Adventures of Robin Hood’, ‘The Adventures of William Tell’, ‘The Adventures of Rin Tin Tin’, ‘The Adventures of Long John Silver’, and ‘The Buccaneers’, to name but a few. The only theme tune I can’t remember is ‘The Buccaneers’, despite it being one of my favourite series. The tune was simply unmemorable. But I can still sing you the standby music used by Granada Television before programmes started at five o’clock.

Dad eventually surrendered to the inevitable and bought a set around 1962. I watched the first Transatlantic transmissions over the Telstar satellite in July of that year at home.

But all the many “worthwhile activities” soon disappeared. A year later I was watching the indisputably inane quiz show ‘Take Your Pick’ (the one in which Michael Miles tried to trick contestants into using the word “No”) when news of President Kennedy’s assassination came through. Within a few years, some programmes had become part of the bedrock of British society watched by more than half the population, and activities outside the home gradually dwindled away. For me, homework took second place on Thursdays when ‘Top of the Pops’ and ‘The Man From U.N.C.L.E.’ were on.

Dad remained a bastion of common sense. As soon as the television was turned on, he retired to his books, radio and other activities. I’m not quite that good, but I do try. Think of all the skills and knowledge lost to all that television. What goes around comes around. While I sit here trying desperately to improve my writing skills and perfect my pirate voice, my family sit the other room watching that embodiment of triviality, ‘The X factor’. 

originally posted as part of a longer post on the 19th September 2014

Talk like a pirate

New month old post (first posted 19th September 2014)

Robert Newton: the man who taught us to talk like a pirate

Although we did not yet have a television set at home, I used to see Newton in ‘The Adventures of Long John Silver’ at great Aunty Gina’s, where I would go once each week after school for tea. The series was made in Australia in 1954, but by the time it appeared on our screens in England some three years later, he had died from heart failure brought about by chronic alcohol consumption. He had previously played the role in the film, ‘Treasure Island’, in 1950.

Newton’s idiosyncratic one-eyed, one-legged and parrot-shouldered portrayal of Silver was much parodied and instantly memorable. The wildly gyrating eyeball and oddly exaggerated throaty West Country accent became the stereotypical pirate for the next half-century. Its influences are still prominent in the 2003 film ‘Pirates of the Caribbean’. Two Americans even thought it fitting to declare September 19th each year to be ‘International Talk Like A Pirate Day’ when everyone should greet each other with phrases such as “Ahoy, matey!”, and liberally sprinkle their speech with the pirate growl, “Aaarrrh”.

Exactly how do you talk like a pirate? It strikes me that the opening lines of ‘To The Hesitating Purchaser’ which begins Robert Louis Stevenson’s novel ‘Treasure Island’ provides a great model. Newton recites it at the start of every episode:

         If sailor tales to sailor tunes,
         Storm and adventure, heat and cold,
         If schooners, islands, and maroons,
         And buccaneers and buried gold,
         And all the old romance, retold,
         Exactly in the ancient way,
         Can please, as me they pleased of old,
         The wiser youngsters of today:
         So be it (Aarrrh Aarrrh), and fall on!

Just growl it out, stretching and rhoticising the ‘r’s and omitting the ‘d’ out of ‘adventure’, and you’ll sound pretty authentic.

To tell you the truth, I preferred the cleaner-cut, less eccentric Captain Dan Tempest in ‘The Buccaneers’, which was also set in the sixteenth-century age of pirates. Tempest was an ex-pirate, pardoned by the King and turned privateer to fight other pirates and the despicable Spaniards. He never caught the public imagination in the same way as Long John Silver. Perhaps it was because he didn’t talk like a pirate.

Airfix Modelling

New Month Old Post (first posted 14th August, 2014).

In 2009, I came across a magazine called ‘Down Your Way’ which published pieces submitted by readers. I was dismisses of most of the content, which was unjust because the best way to improve one’s writing is to write lots, and getting something into print gives the ultimate encouragement. Teenage Son had the right attitude:
    
“Well, if you’re so good, let’s see you get something in there.”

The result was ‘Airfix Modelling’, published the following year. It may not be entirely accurate, especially with regard to the present day, and there are other things I would change too, but I have resisted the urge to tinker. It seems to be trying too hard to entertain. I also dislike the captions used in the magazine (“model boyhood”, “glued to a hobby”) which were added by the editor.

It was, in effect, the start of this blog, although it did not appear in this form for some years. 

January 1, 1965.  Friday. Made F4 UID Corsair from Airfix, and also a station booking hall.

January 2, 1965. Saturday. Made Airfix station platform.

Most of us remember Airfix, the make-it-yourself model aeroplane kits. There were also ships, vehicles and even, it seems from my diary, railway buildings. The Airfix company flew off the ground, so to speak, in 1955, in a World War Two Supermarine Spitfire. It sold well and became the first of an enormous product range. For a couple of decades, Airfix was a very profitable business. Its faithfully reproduced, 1/72 scale models, came as injection-moulded plastic ‘trees’ of parts that slid and rattled enticingly inside their sturdy cardboard boxes. You broke off the parts one by one and glued them together with clear, stringy, cellulose adhesive, which the instructions called ‘cement’. You squeezed it out of a metal tube, releasing an exhilarating chemical vapour. 

Some parts, such as wings and the fuselage, were fairly large. Others, like the engines, fuel tanks and ailerons (to be an Airfix modeller you really had to get to grips with aero-terminology), were smaller, but still easy to handle. The tiniest parts, such as the pilot’s joystick, the propeller shaft and the machine gun barrels, which in the finished model were all supposed to move forwards, backwards, up, down and round in a realistic manner, usually ended up glued firmly to your fingers in a horrid sticky mess. You knew you were going to be spending the next couple of hours peeling rubbery ‘cement’ from your fingertips, nails, nose, hair, ears and any other exposed and unexposed bits of the body it had managed to stick to. 

You could always spot inexperienced Airfix modellers by what appeared to be globs of mucous matted into the sleeves of their jumpers. The best way to glue very small parts was to apply minute amounts of ‘cement’ with a pin or matchstick, but you needed to have progressed beyond the novice stage to know that.

Kits were graded according to difficulty, but that was not as helpful as it seemed. The easiest kits, with the largest parts, were also the smallest models. What boy, no matter how young and inexperienced, would truly want to build the smallest and easiest models, when the largest and most difficult had the most impressive pictures on their boxes?

For me, the ultimate was the Short Sunderland III Coastal Command’s Fighting Flying Boat, which came in a massive box with an all-action painting of four powerful engines, roaring away on a high-mounted aerofoil above a magnificent white hull, banking to the right on the lid. Once I had one, my younger brother had to have one too. It took my Dad ages to make it for him, about three months of sticky fingered Sunday afternoons, and the ruined sleeves of several jumpers.

You could literally spend weeks making Airfix aeroplanes, and that was only the first stage. Next came painting. The paints were in tiny containers. One brand was Humbrol, a Hull company that had originally made paint for bicycles. Their paint came in delightful tiny tinlets, with little metal lids you prised off with a coin, just like real full-sized paint tins. Airfix’s own brand was in little glass bottles, like nail varnish bottles with a brush fixed to the underside of the screw top. I liked gold and silver best. They looked dense and sparkly against the glass of their bottles, and glittered as they flowed from the point of your brush. 

Sadly, there was not much call for gold and silver. The largest aircraft surfaces, such as the wings and fuselage, tended to be green or blue. I found it impossible to apply the colour evenly over these large areas. I was so disappointed when, after painting a Dornier Do217E, one of the first models I made, a splendid World War Two German bomber with realistic rotating gun turrets and elevating barrels, it dried as patchily green as a forest canopy from the air. 

My disappointment was replaced by disbelief when my mother, with real enthusiasm, exclaimed, “Oh Tasker, it looks just like a real one!” Whether it really looked like a real one in camouflage, or whether she was just trying to cheer me up, I still do not know. 

You then had to apply the ‘decals’. You and I would call them ‘transfers’, but the instructions always called them ‘decals’. Looking this up now, I find it is short for decalcomania, derived from the French ‘decalquer’, a ceramic decorative craze from the 1870s, but let us stay with ‘transfers’. They came on a card from which, when moistened, you could slide the transfers on to the model. 

You positioned the German crosses, the RAF ‘roundels’ (red, white and blue rings to you and me) and other markings, exactly as they would be on the original, a finishing touch that made for a highly realistic model, although not realistic enough for some. Perfectionists took things a stage further using a repertoire of illusions, such as filing the bottoms of the wheels flat to give the impression of bulging pneumatic tyres.

There was just one overriding, inescapable problem with Airfix models. They did not actually fly. They were not that kind of model. You could only pretend to fly them. Holding them in your outstretched hand you could, climb, dive, yaw, pitch, roll, bank and loop around the living room, making terrifying explosive sounds and screaming engine noises as you machine-gunned the family cat. Mind you, Sooty the cat had his own ideas about that and was pretty adept at leaping acrobatically up from the floor and smashing the model out of your hand with his teeth and claws, gouging out a couple of strips of flesh in the process. What would Churchill have given for air defences like that in the war? Enemy bombers ferociously snatched out of the air and disembowelled by batteries of enormous furry felines. The Battle of Britain would never have happened, and Churchill’s ‘never in the field of human conflict’ speech would have had to be completely different.

Alternatively, you could admire your models standing on the bookcase in your bedroom, until they got squashed beyond recognition by a busy mother with a pile of sheets and blankets. Or, you could hang them from the ceiling with invisible threads of black cotton, except that the Short Sunderland III Flying Boat was so heavy it would have necessitated a length of steel cable, a Bob the Builder safety helmet, and a rolled steel joist up in the roof. You could end up with a couple of dozen models suspended in perpetual dogfights all around your bedroom, until one day, when light had rotted the cotton, and you had imperceptibly grown a few more tenths of an inch taller, you inadvertently nudged one with your head, sending it crashing to the floor in a plume of accumulated dust that hung thick in the air like smoke, as you accidentally tripped on your model and trod it into the carpet.

To be truthful, there was not a great deal you could do with the finished models. The interest was in the making of them. It taught you patience and perseverance, and gave you confidence in the use of terms like fuselage, ailerons and landing gear, admirable qualities and skills even today. 

It seems hardly anyone makes Airfix models these days. The activity fell into decline from the late ‘70s and the company went bankrupt. Ownership of the rights went through several financial crises and takeovers, with at one point Airfix being owned by Humbrol, the paint company. You can still buy the kits, but at prices that in 1965 would probably just about have bought you the real thing. Those who do still make them are as likely to be adults as children. A fifteen-year-old boy who made model aeroplanes today would need to keep pretty quiet about it to avoid being beaten up at school. 

Maybe the increase in the cost of plastics contributed to the decline, or maybe it was more down to social change and the emergence of computer games. One thing that did not occur to many of us in 1965 was that for some fifteen-year old-boys, breathing cellulose vapour would become an entire pastime in itself, rather than just a small part of the pleasure of model making.

I remember the American Corsair fighter mentioned in the diary as the last model I made. The first had been a Fairey Swordfish, an early World War Two torpedo biplane with fiddly wing struts. But other parts of my diary show that by fifteen my interests were poised to move on, from making models at home to more outgoing things in the real world, although I know now I still had some way to go. 

“You still have,” said Teenage Son, unimpressed.

 

 

[Originally published as ‘An Essential Piece of Kit in a Model Boyhood’ by Tasker Dunham in Down Your Way: Yorkshire’s Nostalgic Magazine, Issue 145, January 2010, pages 46-48. ISSN 1365  8506. Country Publications Ltd., Skipton, North Yorkshire.]

 

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.

Blogging and Memoir

I continue blogging and commenting with reduced output. 

Thank you, however, for the encouraging comments; they mean a lot. I was pleased many said they enjoyed my last post about the surprisingly evocative objects visible in the background of old photographs.

It is also enormously enriching to read other blogs about lives, locations, concerns, thoughts, opinions, feelings, humour, annoyances and so many other things, of so many others, who I would never meet in real life. We might not always like each other there, but I think for the most part we do on Blogger. We are able and intelligent people trying to make sense of this imperfect world as best we can. Long may it continue. I hope that’s not too pompous.

I am not really a proper blogger, this being mostly a memoir rather than a diary. It is not a “web log”. I started with the notion of accumulating some kind of printed book, probably private rather than published. So, alongside new posts, I will continue to revise and repost earlier, poorly thought-out stuff.

What is memoir? How does it differ from history or autobiography, or even fiction? One could do worse than to read one of my favourite writer’s, Ian Jack’s, article on this. He recalls, as editor of Granta, receiving a piece based on a childhood memory of a Scottish fishing village where two trawlers and their crews were lost in a storm. He asked the writer to make some revisions, and when the piece came back the names of the trawlers had changed. It transpired that the writer had combined two separate events, years apart. “But this is memoir,” was the writer’s defence, “it is not non-fiction.” The writer appeared to be saying: “it makes a better story if it had happened like this” rather than reporting what actually did happen.

Revisionism occurs in factual history too: consider how accounts of British Empire are now being re-interpreted. I also remember being fascinated on reading the revised edition of Michael Holroyd’s brilliant biography of Lytton Strachey, to discover that a friend called Clare Bollard in the earlier editions was actually the vivacious and voluptuous artist Valentine Dobrée, whose open marriage and indiscretions caused much disruption within the Bloomsbury group. It had been necessary to change her name for legal reasons while she and her husband were still living.

How much do I change? I have certainly obscured identities, especially of bullies and manipulators. I have sometimes amalgamated multiple characters into single ones, such as in the perfect but unattainable Wendy Godley. I have sometimes compressed events that took place longer apart. Where stories are fictional, even when based on true events, I have been open about it. But for the vast majority of the time by far, I tell it as it was. Perhaps I apply a bit of varnish so as not to sound too much of a shit, but what happened, happened. My interest is in how Britain and the world have changed over the decades I lived through, and how those changes and events have affected the way we are today. It is important to stay as true as possible to the spirit of things.

But, Ian Jack trumps all. In order to spare the writer’s embarrassment, he altered the details of the story submitted to Granta. In other words, it appears that no trawlers were sunk at all. I would certainly never make a change as big as that.