Another thing Andrew told me

Andrew also told me about his job teaching in a special school one summer in the early 60s. The school was buried deep in the countryside in south-east England and the pupils were both physically and mentally heavily disadvantaged. Many of them were so deformed that they were only ever allowed into the grounds of the institution, lest they alarm and appal a fragile public. There was, Andrew confided, even a cyclops child kept in a special wing reserved for the most severe cases. His own duties involved the close care of a group of disturbed and severely autistic children. He told me that, at meal times, one of his charges, served with a portion of meat, potatoes and veg, would start eating at the innermost edge of the plate and, working from left to right and back again in strictly parallel lines, move across the plate until it was completely clear and clean.

Round about the time that Andrew told me these things I met a hippie in a field in Bath, putting up a geodesic dome. The hippie told me that hidden deep in the jungle in South America there was a pyramid the size of the Great Pyramid, made out of pure cocaine.

Another story that gripped me in this period was told by a charming Danish alcoholic called Jan. When he was in the bin – either as a helper or a patient, I can’t remember – he made the acquaintance of Peter, a nine year old boy who never spoke. The boy had his own room and, one night at full moon, was seen to get out of bed and stand gazing at the window. He appeared to be completely immobile until someone noticed that he was almost imperceptibly turning in a semi-circle from left to right. The next morning Peter was still gazing at the sky but had scrawled some words on a piece of paper found at his feet. Just three words: PETER – MOON – SICK.

All these stories stuck in my mind. I still think about them. I think about the hippie story simply because it was total hippy bollocks of a very high order and easily exceeds the most hyperbolic stereotypes of the credulity that enfeebled some of the denizens of that wild but wishful time.

Andrew, on the other hand, was a thoroughly brilliant man who went on to become a Professor of Sanskrit, putting what little of the bollocks he had picked up behind him. I think the reason his tales and the Peter story stayed with me was more to do with the fact that, at the time, a kind of popular occult recovery was under way, in which certain sorts of narratives, previously confined to fairy tales and boys’ adventure stories, were being recycled as factual evidence of the fragility of scientific dogma. Cyclops children, jungle treasures, enigmatic lunatics and so forth were no longer clichés of fiction but emblems of a new spiritualised eclecticism.

One notorious source of particularly potent tales was a cult book titled ‘The Dawn of Magic’ (‘The Morning of the Magicians’ in the USA) by Louis Pauwels and Jacques Bergier, first published in France in 1960 and subsequently, in its 1963 translation, eagerly studied by a constituency many of whom would eventually set down the defining terms of ‘The New Age’. What a page-turner! My hippy friends and I ploughed through lurid tales of Nazi mysticism, Fortean toads from the sky, pyramidology, the sex magic of Aleister Crowley, the occult systems of Gurdjieff, the origins of Atlantis and much anomalous else, all pitched to excite the early counterculture’s rejection of the depressant effects of rationalism. Andrew and I were so inspired that we visited the University Library at Cambridge and spent hours hunting down some of the esoteric primary texts from which the portentous pulp had been fermented.

Tall stories were an essential catalyst in the delirious convulsions of reason that cleared the undergrowth for the rise of the underground – it didn’t really matter that sometimes you couldn’t keep a straight face when being advised of the benefits of sleeping on a leyline – the telling was all and belief was not necessary. Hippies stood alongside yarning fishermen in this regard – the ones that got away serving to cement bonds between the ones who wanted to be together. So lavish were some of the stories – often delivered with a fierce earnestness designed to fend off the incredulous – that at times the raconteurs came to resemble spivs, tricksters and Bilkoesque wide boys defending the provenance of dodgy wrist-watches.

Andrew’s stories were all true, however. The one about the dining techniques of the autistic boy is a stark illustration of a disordered craving for order diametrically opposed to the exultant embrace of the fabulous that would gain the ascendant for several years to come.

15.08.2007

Cheeky Monkey

I’ve been cutting things out of newspapers and magazines for some decades. When my friend Seamus insisted that I create some space in his attic by removing several bags of hoarded mags, boxes of scripts and piles of books that you should never throw away although they are crap and you haven’t thought about them once in twelve years, I also unearthed a mighty box containing cuttings dating from 1963. ”What a delightfully lazy way to enliven the blog!” I mused.

Here’s one from The Guardian in 1992:

BROKEN BARREL OF LAUGHS
Pistols are pulled in an East London churchyard, posters have gone up announcing an open day for killing. What on earth is going on? Art of course. Patrick Wright reports.
A few days ago, a poster appeared in East London’s Brick Lane proclaiming a “Day of Killing” to be held once a year or whenever “the population level become dangerously high”. The event would be open to anyone able to hold a gun, and those with disabilities would be permitted to kill by proxy, so long as they had completed the appropriate form and submitted it one week in advance. Participants could kill anyone they wanted within the 24 hour period but revenge killings after the allotted time were strictly forbidden. It was against the rules merely to wound or cripple, and participants would be expected to pay for such damage as they might inflict on property.

This poster, which had been already scribbled over with the words “crackpot’ and “dickhead”, gave no indication of its origin. Yet any passer-by who failed to recognise the presence of Art only had to keep walking down Brick Lane to find the words “The Day of Killing” repeated in a more revealing context: beneath a large black replica of a Beretta pistol mounted on a wall of Truman’s Brewery, currently housing the temporary headquarters of Edge 92, an “International Biennale of Innovative Visual Art” mounted jointly in London and Madrid, and promising an “artists’ vision of the new Europe”.

 The “Day of Killing” is the contribution of David Cerny, a 24-year-old Czech artist who likes to work in “strong political and social contexts”.

14.08.2007

Just for a moment I thought…

Whitstable in Kent is about a 90 mins drive from London. It’s quite pleasant. There are working fishing boats in the harbour, numerous fresh fish retail outlets, second-hand bookshops (my favourite), one or two bars that aren’t like the countryside and the sloping pebbly beach has groynes. Moves are afoot, I gathered, to destroy the charm of the waterfront by developing it. Hey ho.

A walk along the front takes one past pebbles, shells, waves, beach huts, fishing nets, bright buoys and proper marine bric a brac. The building pictured is perhaps six feet from an array of such objects. The owners of the building, however, seem to have succumbed to one of the new anxieties that are doing so well at the moment.

14.08.2007

The Queens Are Dead

Entering Cement Town from the Noise Town road, we spot a circus tent pitched up near the docks. Two camels are tethered to a stake and a bulky water buffalo – an ungulate from the East (see ‘Such Ungulates!’ Ryder, F., The Modern Ungulate, vol XVI, 1953) – is masticating scorched scrub. Beneath some faded awnings is a flat-bed truck carrying four metal cages. Each cage is as big as the single bedroom in a British seaside B&B. Peering into the gloom we can make out dark shapes spread across the cage floors. As our eyes grow accustomed, big cats take shape. Three are asleep, one is pacing – three paces each way. We speculate on what sort of cat we are looking at.
“Are they leopards?”
“No spots.”
“They can’t be tigers, no stripes.”
“They’re lions.”
“Lionesses.”
“Will they be cruel to them?”
“It’s cruel already – they shouldn’t keep them in cages.”
“I don’t want to see them if they’re going to be cruel.”
“Maybe you should see them, you’ll never get the chance at home.”
“I don’t want the chance.”
“I want to see them. There are other things as well. There are clowns.”

Eight hours later. The tickets are being sold by two tough young women in stage makeup. The tickets themselves are worn and spindled, recycled after every show and collected tonight at the tent entrance by a man in a blue teeshirt and worn black trousers with gold ribbon side-seam trim. Thirty three people scattered across a 250 seater tent gaze at a rusting cage that fills the raised circular stage. There is no roof to the cage.
“What if they jump over the top? Would they eat us?”
“They might. They might be scared though.”
“Would they go to the beach?”
“They might like to run up and down.”

A fat guy in a stained tuxedo and pencil moustache enters carrying a whip. In the background bored youths are prodding lionesses in the tunnel connecting their home cage to the stage cage.

The cats wander about to scattered applause. The tamer cracks his whip and shouts things. The lionesses jump up onto stands. They barely bother to look around. Their coats are dull and worn, their eyes sad and slow. The tamer goes up to one as if to kiss it – she puts her huge paw on his shoulder and half-heartedly chews it. This shows how close he is to them and how they trust him and how he can’t be being cruel.

The audience is quiet, concentrated. This does not show that they like the act. I think it shows that they are not used to the idea of wild animals on drugs that are beyond resignation, beyond despair. It shows that a man can do this to them. Probably a woman if she wanted.

The tamer gets a plank and attempts to link two platforms so that the cats can walk across it. He has to keep hold of the whip and this makes it difficult. Smiling fixedly he gets the plank over his shoulder then struggles to push it up onto the platform lip without it slipping off at the other end. The lionesses watch their master listlessly. He has his back to them. A youth behind the cage fingers his big stick distractedly.

Go, Xena! Go, Carla! Jump now, Kristina! Sink those feline canines into the side of his neck. Puncture him. Snap him. You can do it. It’s like swimming or riding a bicycle – it comes back to you, you never lose it. If you like, eat him. I can’t see a rifle and I don’t think they could afford the bullets.

If you did it, the attraction would be gone. All that would be left is the 14 year old girl balancing on a log with a short plank decorated on the front side only with pinned-on gift-wrapping paper while her mother mutters beside her as the girl wobbles and smiles; or the dentally dashing young man who throws knives into an old board against which his indifferent fishnetted and satin-topped assistant unblinkingly stands; or this assistant repurposed as a contortionist in holed tights who can get her arse over her head while her chest is on the ground and her head through her legs backwards and smile at you with her spine in an O; or the ticket-selling women in hot pants who keep large numbers of plates twirling on wobbly sticks then at the end one of them whips them off and throws them to her colleague who drops a couple which smash and she smiles and gazes seawards without longing.

Then nobody would come. And this family of artistes would slowly starve. Their skills, honed every day in car parks and docksides, dreamed about in tiny, flaking caravans, would fade until they acquired the same intensity as the detachment of the audiences who haven’t exactly seen it all before on television because television doesn’t show juggling and balancing much these days but would still prefer a car chase.

“This is the interval. Let’s go.”
“No…”
“It’s really bad.”
“It’s not, it’s good, it’s sad.”
“What about the goat?”
“It’ll just run round and round.”

11.08.2007

Alphabetty

A speed-reading woman has read Harry Potter and the Deathly Hallows (608 pages) in 47 mins and 1 second. Well done, madam. That’s an impressive achievement. The word ‘impressive’, of course, is purely descriptive rather than evaluative and, pedantically speaking, should not be used as a term of approval or, indeed, pedantically, disapproval. But how clever! How treasurable! What a marvellously useful impact it will have on young readers!

Just one question – nothing really important, just a query – did you find that the plot and characterisation and such like got in the way? Had there not been any what we might call texture or structure couldn’t you have turned in something well under 40 mins? Had you applied your skill, for example, to a big book full of just words in no particular order, wouldn’t that have enabled you to make the Potter figures look positively lumbering?

My friend Andrew, back when I was a student, told me about a very big book full of random numbers. The numbers were generated by a great big computer like they were in the olden days and the sum of them was very useful to mathematicians God knows why. Anyway, Andrew said that whilst leafing through the book, in which countless blocks of numbers were displayed in rows and columns, he came across a sequence of identical numbers – shall we say 4444444 4444444 – that went on for half a page before the random numbers set in again. He pointed out that the identical blocks were just as random as the more conventionally random ones. He said that it was possible that the Universe was like that, that is to say, we are living in the 4444444 bit right now where a spade is a spade and at any point the state of this Universe could flip into hardcore random whereupon a coffee table would turn into a pig and that would be just one of many unsettling things as life went bonkers bigtime. This would be about 1964.

Universe changes on next page…

24.07.2007