This Slapstick Gatecrasher
Sunday 14th August 2016. To the Constitution pub in Camden, for the club night Nitty Gritty. Tonight is also the birthday of Debbie Smith, who’s one of the club’s DJs. Atalanta is on the door, sitting at a little table as one enters the basement down a narrow staircase. I keep her company there for a while, watching others make their way gingerly down the steps too. It’s a pleasingly old building, so the stairs were probably built not so much for club goers to walk down but for minor characters from Dickens to be thrown down.
I spend a pleasant couple of hours here, even dancing a little. The Constitution’s back garden looks peacefully over the canal. As the pub is detached and a good walk from the shops and the more touristy parts of Camden, it has the air of an oasis. Local London. Dog walkers use the towpath, and dogs have been known to wander through the basement’s back door and straight onto the dancefloor. A pug-ish one appears tonight and skips around for a few seconds to a Kinks b-side (‘What’s this? What’s this?’). Thankfully the owner removes this slapstick gatecrasher before it sees the platter of birthday cake in front of the DJ booth.
Monday 15th August 2016. I’m editing my review of the Pet Shop Boys book, Smile If You Dare. I cut a line about the possible influence of Paul Morley on the style, mainly because the writer is probably too young. My own generation of music writers essentially fell into two camps: those trying to be Paul Morley – mad, funny, rambling – and those trying to be Simon Reynolds – sober, stern, analytical. There’s a part of the Pet Shop Boys book where the appearance of a hidden track at the end of the Very CD is likened to bettering the resurrection of Christ. I would call this The Full Morley.
There is still a lot of love for the actual Mr Morley today, as his new book on David Bowie is in the Sunday Times General Hardback Top Ten. The music papers Mr Morley once wrote for have either died or become free handouts. For people to pay for a fat hardback of music journalism, and to do so in number, is not to be sniffed at. Most of the rest of the books in that chart are either Ladybird parody books or memoirs by the stars of YouTube. It’s very hard not to write something here that will sound like a rant from Ed Reardon’s Week.
Tuesday 16th August 2016. To the Regent Street Cinema, where I’ve been invited by Heavenly Films to host a Q&A after a screening of Lawrence of Belgravia. This is Paul Kelly’s documentary about Lawrence, the surname-less frontman with the bands Felt, Denim and Go-Kart Mozart. It premiered at the London Film Festival in 2011, where I saw it myself, before getting a proper cinema release in 2012. For whatever reason, the DVD has been only been released now, and tonight’s screening acts as a DVD launch. Paul Kelly and Lawrence himself are present, ready to answer the audience’s questions, and I’m the one with the clipboard, looking like an albino Denis Norden.
I’ve interviewed people professionally for magazines before, but this is my first time as an onstage interviewer. But I go to a lot of film and book Q & A events for my own pleasure, so I more or less know how they’re done. That said, there is a craft to asking the questions, and it’s not always instinctive. When people talk normally, they tend to monologue at each other, or switch off, or repeat themselves, or interrupt, or go off on tangents. A public interview is a performance: there needs to be a sense of putting-on.
To prepare, I read about a dozen interviews with both Mr Kelly and Lawrence, and watch my own copy of the DVD again. I also watch some old editions of the Parkinson show on YouTube, noting what makes an ‘open question’: one that will ideally guide the interviewee into making those little trips of insight and revelation.
On the night, I am asked to give a short introduction, which I do happily, standing in front of the stage. Housekeeping, flavoured with opinion. I focus on Mr Kelly’s lack of clichés: particularly no uses of studio mixing desks as backdrops to talking heads. And no talking heads, either, in fact.
The Regent Street Cinema has had a long former life as a college lecture hall. This explains the seating, raked high on a steep slope, looking down at the screen. Not unlike the set-up for IMAX screens. A dramatic history too: the Lumiere brothers showed their early movies here in 1896. The tickets for tonight state that we’re in ‘The Birthplace of British Cinema’. A plaque on the street also declares this to be where members of Pink Floyd were students. Not the young Syd Barrett, alas, which would have been apt for a film about eccentrics in music. No, the less interesting but more sensible members. That’s my wording, not the plaque’s.
Special badges are given out to every person as they enter. Sky blue buttons saying ‘Lawrence of Belgravia, Tuesday 16th August 2016’. There’s a queue on the way in. The rows fill up. A staffer whispers to me before I go on: ‘This is more people than we usually have for these things’.
I haven’t spoken to Lawrence since the late 90s. ‘Never say “Long time no see”, says Warhol somewhere. Better to act as if it were yesterday. So that’s what I do. During the Q&A he smiles a lot, which throws me. The first question from the audience: ‘You’re one of my heroes, along with my dad’.
I can’t resist using the Q&A to tell Lawrence that his music is on Lynsey Hanley’s list of songs to accompany her book on class, Respectable. Lawrence says he’s read it; a Birmingham connection. I quote the lyrics Ms H quotes from Denim’s ‘Middle of the Road’, the ones about choosing to like whatever music you listen to. Much of her book is about the importance of breaking down cultural barriers, where areas of musical taste are psychologically prescribed.
On a couple of occasions I fall into the trap of asking closed questions, because my brain is wired to come up with theories, almost by default. That’s what five years of university does to you. But then I notice what I’m doing and move on. I’ll be better at doing that next time; I’d like to do more Q & As.
Lawrence stays to sign records for fans. Stephen Pastel and Tracey Thorn are in the audience. JC Brouchard, whom Biff Bang Pow once wrote a song about, gives me a copy of his book, Felt: Ballad of the Fan. ‘Is that a book on Felt?’ asks someone behind me. One of several books, now. There’ll be a BA course in Lawrence Studies one day.
Friday 19th August 2016. To the ICA to see Wiener-Dog, the new Todd Solondz film. I loved Happiness, and quite enjoyed Palindromes and Storytelling, but have reservations about this new one.
One thing is that I’m not really in the mood for his signature mix of misery, misanthropy and bad taste. Another is the form: a portmanteau film of four short stories, linked by the titular sausage dog. This works for old British horror films, but not so much for contemporary US black comedies. With one narrative paraded after the other, the overall experience is of fluffy disconnection. A little weaving together of the different strands is needed, a la Pulp Fiction. Or indeed, a la Happiness.
Still, there’s plenty of funny moments, not least the surreal ‘Intermission’, where the dog is filmed as if it were the size of a house, and walks through a series of unlikely backdrops to a Champion the Wonder Horse-like song. But I don’t think anyone sets out to make an intermission the highlight of a film.
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, go-kart mozart
, heavenly films
, lawrence of belgravia
, lynsey hanley
, nitty gritty
, paul kelly
, Paul Morley
, pet shop boys
, regent street cinema
, todd solondz
Little Threads of Infinity
Sometimes, writing can feel like tugging at little threads of infinity. This is a simile suggested by the jacket I’m wearing today. It’s a beloved linen number of some ten summers, as a result of which the jacket is now unravelling along a number of seams. It has reached the stage where it makes my dry cleaner suck in his breath so much, I wonder if there’s a point where the sound of reluctance ends and asthma begins.
I have the same fear of an infinite unravelling whenever I sit down to write. There’s a point where the mind has no reason to stop dwelling on even the tiniest detail – one thinks of the Woolf story ‘The Mark on the Wall’. Everything is interesting, really.
But the problem with this is that I have a backlog of events from the last few weeks, which really should be at least declared, if only to paint in the parameters of my funny little life. This week’s selection of diary entries, and the next one, will therefore be more of a mopping-up. The temptation to tug on The Threads of Fact until they become The Unravelled Garments of Reflection will just have to be resisted.
Tuesday 4th May 2016. To the Cartoon Museum in Bloomsbury. A small gallery that nevertheless crams in two superb exhibitions: a major one about ‘The Great British Graphic Novel’, and a smaller one upstairs about the Doctor Who Target novelisations, which came out regularly in the 70s and 80s. Virtually every Doctor Who adventure was turned into one of these little books. I remember them well as a child. It was the era just before TV shows were available to buy on home video (long before DVDs). To revisit a favourite story, the fans had to read prose fiction. How strange now to think of novels as catch-up TV.
Each Target paperback had a specially commissioned cover rendered as a painting (hence the exhibition), branding the books more as imaginative explorations in their own right, rather than disposable cash-ins. They also encouraged a feeling of community, which is what merchandise and events like Comic-Con should always do. Join our club.
Thursday 5th May 2016. In the TLS I read a review by Tom Lean of Electronic Dreams, a book about 1980s computer games. One game, Deus Ex Machina, apparently featured a segment ‘in which the player has to guide a sperm to an egg in order to fertilize it. The astronomer Patrick Moore had been invited to voice the semen; he consulted his mother and, on her advice, declined.’
Sunday 8th May 2016. Afternoon: To a marquee in St James’s Square, for one of the Words in the Square events. This is a miniature literary festival, held by the London Library to mark its 175th anniversary. I attend ‘Desert Island Books’, a group discussion about favourite reads. Six authors sit on a stage and explain their choices in categories such as ‘Childhood Favourite’, ‘Biggest Influence’, ‘Guilty Pleasure’, ‘Tarnished Favourite’, and ‘Recent Favourite’. The authors are Philippa Gregory, Deborah Levy, John O’Farrell, Sara Wheeler, Nikesh Shukla and Ned Beauman. A gender note: all three men try to make the audience laugh, while the three women are more serious and wistful about the pleasures of reading. Though that’s a kind of playing to the crowd too.
Ned B’s ‘Guilty Pleasure’ is to go on Amazon and use the ‘Look Inside’ function to read the bits in crime thrillers where the killer reveals his motive. Nikesh S’s ‘Tarnished Favourite’ is a poetry anthology he contributed to in his teens. His initial excitement at having his dream realised was soon doused; the book turned out to be a scam by a vanity press.
Evening: To the Constitution in Camden for Debbie Smith’s Nitty Gritty club night. It’s such a sunny day that I walk all the way from St James’s, via the canal. At the club I meet the singer from the band Bete Noire, who I’m reliably informed have been making waves with their song, ‘Piss On Putin’.
Saturday 29th May 2016. Mum in London for the day. We visit the British Library’s big summer exhibition, Shakespeare in Ten Acts. As usual with the BL, it’s a rich mix of the familiar (lots of rare books, a couple of First Folios present and correct), the educational (in-depth histories of early female and black actors) and the unexpected. In the latter case I’m fascinated with the details of the first overseas production, an amateur Hamlet on board a ship off the coast of Sierra Leone, as early as 1607. Shakespeare was still alive.
Also learned: King Lear was performed in a sanitised version for 150 years. This Restoration rewrite had a happy ending and omitted the character of the Fool entirely. When the full Shakespearean Lear was revived in the 1830s, the first actor to play the Fool was a woman, Priscilla Horton.
For me, the highlight is a whole room dedicated to Peter Brook’s 1970 production of A Midsummer’s Night Dream. This was the radically minimalist version, staged against plain white walls, with brightly coloured costumes, trapezes and stilts. In the exhibition, all the rooms are dark except for this one, a witty recreation of Brook’s clean white box. There’s even a trapeze one can sit on, albeit firmly anchored.
Lunch at Albertini in Chalton Street, followed by a walk around Camley Street Natural Park and a quick visit to the House of Illustration. Three small exhibitions in the latter: 1920s Soviet children’s books (when animal tales were suppressed as bourgeois constructs), a permanent Quentin Blake gallery, and a display of Japanese girls’ Shojo manga comics. Am intrigued about Keiko Takemiya, who is thought to have pioneered the yaoi genre: comics about gay male love, made by women for girls.
It’s a sunny day, and we have drinks outside in Granary Square (buying them at the trendy Granary Store bar). The area is still being finished, but it’s already King’s Cross’s answer to the South Bank, the canal standing in for the Thames. As with the Royal Festival Hall, hordes of people now descend here at the weekend, and seem to just sit around all day. Alcohol on concrete, bridges over water, art galleries, and the inevitable small children playing in fountains, the kind made up of jets of water springing up from the pavement.
In fact, the Granary Square fountains seem to be more artily-minded than the South Bank ones, perhaps because St Martin’s is next door. The jets switch constantly between different patterns of varying rows and heights. On the South Bank, the jets just rise up and go down. Either way, the children seem happy. Or at least, busy. Which with children, unlike adults, is the same thing.
Tags: bete noire
, British Library
, cartoon museum
, doctor who
, house of illustration
, king's cross
, mopping up
, nitty gritty
, target books
, The London Library
The Age Of Skeuomorphs
Friday 1st April 2016. April Fool’s Day seems increasingly redundant in this digitally-driven world of ever-uncertain contexts. Everyday life now relies on consulting the shifting facts of Wikipedia, or checking for the blue-ticked ‘verified accounts’ on Twitter. On social media one is used to seeing the phrase ‘genuine question’. This implies that any default question is not in the least bit genuine. Or indeed, that nothing is genuine full stop, if it’s online.
I think the turning point was a few years ago, with the case of the man arrested for making a joke on Twitter, the one about blowing up Robin Hood Airport. Someone then suggested that all future Tweets should come with the warning ‘may be a joke’. A genuine suggestion. I think.
But April Fool’s Day still goes on. The enforced jollity must be disheartening for any workers forced to smile at the unfunny pranks of management. It’s similar to the way New Year’s Eve parties can be no fun at all, not if there’s no option to opt out. I hear of some wag referring to April Fool’s Day as ‘W—ers Christmas’.
Still, today I quite enjoy Foyles’s elaborate YouTube gag, announcing a new cost-cutting measure: their first holographic sales assistant. In the video, which has the sort of special effects that were once quite expensive, but which now probably cost nothing, they jokily reassure people that they still need human staffers, as the hologram can’t pick up any books.
Holographic staffers are already a reality in some places. There’s one in King’s Cross station by one of the escalators, though it’s technically more of a projection, the screen being a flat, human-sized cut-out. This poor flickering soul is charged with telling people to grip the handrail. After five seconds it warns them again, and then again. It looks like a punishment for holograms: an eternal loop of banality.
* * *
I watch a newspaper review programme on one of the news channels. The Independent is no longer available in print, but it does continue to exist as a digital daily edition. This is a fixed document, best read on iPads, that is a separate entity to its ever-changing website. My head starts to reel with the implications of something that is ‘fixed’ like print, yet still virtual.
In this way, it still has a ‘front page’, so it can still appear on the review programme alongside all the other newspapers’ covers. But this disturbs me a little. Where is the ‘front’ of a digital document? A PDF or a Word document has a Page One, but a ‘front page’ implies it has three dimensions. In this manner, a digital object imitates an obsolete physical one. The term for this is a favourite word of mine: a ‘skeuomorph’ – a retained design that no longer fulfils the original purpose. Like the fake sound of a camera shutter used on a smartphone. We are in an era of enhanced simulation – which is again why April Fool’s Day feels redundant. With all the skeuomorphs, reality is skewed enough.
* * *
To the Barbican’s art gallery for Strange and Familiar: Britain as Revealed by International Photographers. A fascinating and extensive display of social history from the 1930s to the present. Cartier-Bresson is among the names I recognise. Like many overseas visitors, he seems especially fascinated with the crowds that turn out for royal celebrations: Jubilees, Royal Weddings and so on. It’s something which I forget other countries often associate with the UK.
Also on display is Bruce Davidson, whose ‘Girl Holding Kitten’ from 1960 is now fairly well-known. The juxtaposition of vulnerability: the tiny kitten with its owner, a wide-eyed waif with a sleeping bag, caught on a wet London street.
What strikes me here is the way a photograph can capture objects and places that were already out of date at the time, making a kind of a double historicity. One example is an empty greasy spoon café in Peckham, which looks very 1950s to me, but is in fact from the 1980s. Another is a sign at a railway station: ‘All Season Tickets To Be Shewn’. This archaic spelling for ‘shown’ was apparently in use in public signage as late as 1962.
I wonder what an equivalent sign might be today. It might be the ‘Six Items Or Fewer’ signs at some supermarkets. Though grammatically correct, ‘fewer’ sounds increasingly clunky in some sentences, compared to ‘less’. Certainly in that one.
* * *
Saturday 2nd April 2016. To Vout-O-Reenee’s in Tower Hill, for Debbie Smith’s excellent club night, Nitty Gritty. Cocktails, vintage 60s soul and girl groups, dancing. A proper bohemian London ‘safe space’, the Nitty Gritty regulars (more women than men) mixing with the Vout’s Colony Room-style regulars. I sit with Fenella H, Vadim K and Lily, chat to members of Joanne Joanne, and get pleasingly drunk.
* * *
Tuesday 5th April 2016. To the ICA for the film version of JG Ballard’s High-Rise (£3). The film already has a reputation as being rather divisive, with reports of some people walking out, while others have called it an instant classic. Certainly, I find the heavy use of montages off-putting. At one point Jeremy Irons’s architect says that the problem with the failing tower block is not that he left things out, but that he put too much into it. Which rather sums up the film. It starts well, with Tom Hiddleston moving in and getting to meet the residents, but then gets increasingly messy and confusing. I suppose I wanted it to be more O Lucky Man and less Britannia Hospital. As in the latter, there’s some gory business with body parts that seems less of a clever metaphor for society and more just straightforward gore. However, I can’t fault the 70s aesthetics, from the clothes to the hairdos to the Brutalist architecture (Belfast posing as London, I think), which do a superb job of creating an alternative 1970s version of futuristic life. Particularly the horse in the penthouse garden.
* * *
, nitty gritty
An @ Of One’s Own
Saturday 13th June 2015.
I walk through Waterloo Station. The whole building has been turned into an advert for the new Jurassic Park film. Looped video trailers flank the train announcement boards, while the movie’s logo dots the entire concourse floor. In the centre of the station, a tableau of fibreglass full-sized dinosaurs are caught in the act of breaking out of their container. I bristle at this assault by Hollywood on my consciousness, but then feel guilty when I see small children taking delight in posing with the daft static creatures. It’s got dinosaurs in it, so children will be happy.
I’ve not seen the film, but I’m guessing that it involves something going wrong at a dinosaur park.
* * *
Evening: I watch a nostalgic TV show marking 20 years since Britpop. It feels far too soon, but I suppose two decades ago is long enough. A whole generation ago. The funny thing is it gives me flashbacks, not of the 90s, but of a previous 90s nostalgia show from the early 2000s: I Heart the 1990s. One episode had Edwyn Collins introducing himself with the phrase, ‘Hi! I’m Edwyn “A Girl Like You” Collins!’
So a new 90s nostalgia show triggers my nostalgia for an old 90s nostalgia show.
In the same way that Wikipedia has outsourced knowing things first hand, TV’s love of editing history to suit a convenient format has replaced first hand, organic, untidy memory. I feel that many of my actual memories of the 90s have been taped over in my head, replaced with 90s nostalgia pieces.
However, one thing that the run of 90s programmes seems to omit is how OK Computer changed music in 1997, just as much as Britpop did in 1994. After that, a huge swathe of rock bands switched from trying to be Oasis to trying to be Radiohead. The blueprint was now for big, mournful, stadium-friendly rock, devoid of any sense of a generational or national identity; angsty yet tasteful. The end result was Coldplay. But perhaps the full meaning of 1997 is something to look forward to in 2017.
* * *
Sunday 14th June 2015.
I visit the club The Nitty Gritty, at the Constitution bar in Camden. The DJ is Debbie Smith, a fellow 90s rock survivor, given her stints back then in the bands Curve and Echobelly. At The Nitty Gritty though, she plays a highly enjoyable set of vintage soul, R&B and 60s girl groups, to a very cool-looking crowd of vintage-dressed, and queer-friendly customers. One woman – a staffer, I think – has a kind of immaculate rockabilly take on Amy Winehouse’s look. Camden still has a certain fizzy life to it, if you know where to go.
As I enter the bar from the Regent’s Canal towpath, Ms Smith is playing ‘Sometimes I Wish I Were A Boy’ by Lesley Gore. It’s a tune I used to have as my band Fosca’s going-onstage music. And here I am entering a room to the song once again.
* * *
Monday 15th June 2015.
More coincidences. Today I’m re-reading Jerome’s Three Men In A Boat, including the part where the narrator imagines the whole Magna Carta ceremony. It’s only afterwards that I realise today is the 800th anniversary of the signing.
Jerome’s ‘J’ subscribes to the theory that the event took place on Magna Carta Island itself, rather than on the opposite bank of the Thames, at Runnymede:
Had I been one of the Barons, I should have strongly urged upon my comrades the advisability of our getting such a slippery customer as King John on to the island, where there was less chance of surprises and tricks. (Three Men In A Boat, Chapter 12).
* * *
The Queen’s Birthday Honours this week. My favourite reason for declining an honour: ‘So aging!’ – Francis Bacon. Favourite for accepting: ‘I thought of the people it would annoy’ – Kingsley Amis.
* * *
Tuesday 16th June 2015.
I watch the second episode of How to be a Bohemian with Victoria Coren Mitchell, the BBC4 series. Pleased to see Stephen Tennant given a look-in. And lots of shots of Birkbeck’s School of Arts, inside and out, due to its previous life as a Bloomsbury Group location.
Ms Coren Mitchell manages to have her moral cake and eat it, regarding Eric Gill’s incest and bestiality. ‘I’d like to go back in time and kneecap Eric Gill’, she says at one point, in case anyone was in doubt on where she stands on sexual abuse. Still, I suppose this is 2015, and it’s the BBC, with its Gill sculptures on the outside of Broadcasting House (one of which is now surrounded by the livery of a Caffe Nero), so some obvious things still have to be said aloud.
To her credit, though, Ms CM also lets interviewees with opposing views make their case. Grayson Perry challenges her scorn of the Bloomsbury Group’s snobbery and privilege: ‘Are we awarding creative points for being poor, or for being creative?’, while Richard Coles asserts how important it is that Gill’s sculptures remain in place, not only on the BBC building, but also in Westminster Cathedral: they serve as a reminder that ‘the sinner stands at the heart of Christianity’. Trust the art, not the artist.
* * *
I never felt like those people formerly in bands who look back on their music as a weird ‘phase’. I’m even weirder now.
* * *
Wednesday 17th June 2015.
To Senate House for the London Graduate Fair. Very crowded, lots of stalls. The actual type of work seems to be quite limited. Nothing arty. No publishers of literature, no arts organisations. As far as I can tell, the main options for graduates seem to be: the warzone of corporate management, the warzone of school teaching, or, given the prominent British Army stall, actual war.
A group of uniformed soldiers have various weapons lined up on trestle tables: bazookas, grenade launchers, rifles. It’s like a Fresher’s Fair, only with fewer Pot Noodles and more guns. I last fifteen minutes, which is longer than I’d last in the army. I suppose an ability to write High First Class essays on Oscar Wilde might be handy when battling insurgents in Helmand Province, but I didn’t stay to find out.
* * *
Thursday 18th June 2015.
To Jacksons Lane Community Centre for a new experience: a class in Pilates. ‘This is not going to be pretty,’ I think. ‘Not least because I have to wear something other than a suit.’
I turn out to be the only man in a class of women, and the least experienced by far; I’ve still never stepped inside a gym. But the female tutor is very sympathetic. She comes over to me whenever I’m struggling (which is often) and never makes me feel a fool. It’s hard work, and confusing at times, as I’m trying to work out how to move parts of my body which I’m fairly sure I’ve never moved before. On top of that, I have to work out when to breathe – something I keep forgetting to do, on account of trying to keep up with the instructions. But the effect is like blowing the dust off an entire lifetime. I feel the better for it afterwards, and decide to keep it up.
As for what I wore: my baggy grey jogging bottoms (though I haven’t gone running in years). Plus my sole t-shirt. It’s a promotional shirt for an absinthe company.
* * *
Friday 19th June 2015.
I walk up Shaftesbury Avenue and see that the new Picturehouse cinema has just opened: Picturehouse Central. It’s in the shell of the old CineWorld Shaftesbury Avenue, in the northwest section of the Trocadero. Although much of the Picturehouse is still not ready (including the rooftop members bar), it is already a vast improvement on its former self. The Cineworld Shaftesbury Avenue will not be missed. Tacky, windowless and claustrophobic, it always felt like part of a run-down regional 1980s shopping mall. But then, a run-down regional 1980s shopping mall was pretty much what the Trocadero had become in recent years. Central London has always been torn between an embracing of garish franchises and souvenir shops, and a love of rarer emporiums steeped in history, character, and personality. The Picturehouses may be a chain, but they’re closer to Waterstones than WH Smith. A sense of humanity, rather than raw, faceless commerce.
The new cinema’s ground floor café does look a bit like a Shoreditch eatery, with its ceiling stripped back to the bare brick and concrete, and its air ducting and dangling light fittings on conspicuously trendy display. But there’s some nice proper booths with tables – rather like those in the late New Piccadilly Café in nearby Denman Street. When my veggie sandwich arrives on a proper china plate, and not on a recycled hubcap or an on old vinyl album, I find myself warming to the place.
(There is currently a popular social media account called ‘We Want Plates’. It campaigns against the trend in arty restaurants to present their meals on anything from wooden boards to slabs of rock. I have to admit I, too, want plates).
The wall of the café is covered in a mural rendered in a naïve, David Shrigley-like doodle, on the theme of cinema. There’s scenes from cinema history, diagrams on narrative theory, and fictional examples of cinema archetypes, such as ‘Man Shouting Out Of A Prius In LA, On His Way To A Thing’. As for the actual films, there’s seven screens, including a 341-seater with Dolby Atmos, whatever that is. The type of films on offer seem to be a bit of everything: in this first week, you can choose between the arty likes of Carol Morley’s The Falling, the critically loved Girlhood and London Road, and documentaries like The Look of Silence and Dark Horse. And if you absolutely must, there’s also Jurassic World 3D.
* * *
To Senate House Library in Malet Street, where I hand back my remaining library books in time for the expiry of my BA-affiliated membership card. Another sign of the degree coming to an end.
Birkbeck’s summer term still has a couple of weeks left, so tonight I attend an open lecture in the basement of Gordon Square. It’s on the history of sexuality, by Heike Bauer, one of the tutors who marked my dissertation.
Dr Bauer quotes the building’s old resident Virginia Woolf, in A Room of One’s Own. One problem when it comes to discussing sexuality in history is that as Woolf puts it, ‘fiction is likely to contain more truth than fact’.
Dr B also quotes a more modern example of a discussion on the subject: a recent Twitter conversation between herself and various other academics, who managed to boil down their arguments into 140 characters. Less than 140, in fact, as they need characters for the hashtags and the other ‘@’ names. In 2015, a paper’s abstract (its summary) is not nearly abstract enough.
Today, Woof’s ideal of a private room is less urgent, as so many writers enjoy working in crowded cafes and libraries, or even outdoors (a common sight on social media is a photo of a sunny park, with the caption: ‘My office today!’). Now, it’s more important to have an ‘@’ sign of one’s own.
Dr B also focuses on the work of Magnus Hirschfeld, he of the 1920s Berlin Institute of Sexology, as visited by Isherwood in Christopher and His Kind. She talks about how Hirschfeld visited Cambridge sometime around 1905-7, while Wilde’s son Vyvyan Holland was studying there. However, he was careful to avoid bumping into young Holland and embarrassing him, due to the shame associated with his father. The very words ‘Oscar Wilde’ were, at this time, absolutely synonymous with male homosexuality, and his reputation was yet to recover. Instead, Hirschfeld witnessed a group of students – a kind of secret Edwardian Cambridge Gay Soc- who gathered together to read ‘ The Ballad of Reading Gaol’ in a ritual of solidarity. On their shirts they wore Wilde’s prison number: C33.
I’m reminded of John Betjeman’s poem ‘Narcissus’, about his childhood. In the poem, Betjeman’s mother chastises him for bonding too much with a friend. This would have been in the early 1910s:
My Mother wouldn’t tell me why she hated
The things we did, and why they pained her so.
She said a fate far worse than death awaited
People who did the things we didn’t know,
And then she said I was her precious child,
And once there was a man called Oscar Wilde.
, bloomsbury group
, debbie smith
, eric gill
, grayson perry
, heike bauer
, jacksons lane community centre
, jerome k jerome
, john betjeman
, magna carter
, nitty gritty
, oscar wilde
, picturehouse central
, richard coles
, victoria coren mitchell
, virginia woolf