Here is an extract from my (newish) book Fifteen Minutes of Fame (an eccentri comnination of autobiography and cultural commentary)
The following piece, written at intervals since 2009, recalls (with nostalgia) childhood enthusiasm for stories. The essay weaves backwards and forwards, through numerous tales, in various formats, that have gained attention across several decades, occasionally arriving somewhere near the present day.
“Begin at the beginning, and go on till you come to the end: then stop”. This advice was given by a King to a White Rabbit, during a bizarre trial, staged near the conclusion of Alice’s Adventures in Wonderland by Lewis Carroll (published in 1865). There is a lot to be said for starting stories other than at the beginning – I often begin in the middle, hop backwards to the opening, and meander through several digressions, before reaching something like an ending. The curious world of Wonderland has been an unlikely influence on my story-telling, as an imaginary counterpoint to the facts I normally rely upon. Following this short diversion, it is time to mention I have been fascinated by stories for almost as long as I can remember. Good stories entertain and inspire us, often providing vital insights into people’s lives. Stories can be factual or fictional – and sometimes a hybrid.
I was born during the twentieth century – the exact year being 1964. By the middle of the 1970s, I had moved from stories aimed at children to reading books primarily written for an adult audience, with football being a particular interest. I discovered the James Bond novels and stories, written by Ian Fleming, and read all of these during a spell of about a year. Bond led an intriguing life as a spy, with missions in exotic locations, while Fleming brilliantly described the thoughts and actions of the character – including Bond’s shower and breakfast routines, plus his appreciation of fine food, sophisticated drinks, and beautiful women. Another enthusiasm was history books, consumed as a teenager.
Besides being an avid reader, I appreciated other forms of story-telling. A notable example was television situation comedies, with great programmes from the BBC in the 1970s including Are You Being Served?, Butterflies, Fawlty Towers, The Fall and Rise of Reginald Perrin, and The Good Life. I also enjoyed comedy sketch programmes, such as Morecambe and Wise, The Dick Emery Show, and The Two Ronnies. The part of the latter show where Ronnie Corbett would sit in an armchair, telling a joke, surrounded by several minutes of tangential rambling, irritated me at the time. In retrospect, Ronnie Corbett’s style of story-telling appears to have had a great influence upon me. Moving away from comedy, television news bulletins, plus newspapers, helped develop a knowledge of the outside world.
In my youth, I planned to develop the enthusiasm for books, by becoming a writer. I started to read the works of George Orwell, who remains my favourite author, due to his profound ideas, expressed in a conversational prose style. Besides books published in his lifetime, I enjoyed The Collected Essays, Journalism and Letters of George Orwell, a posthumously-compiled four volume set. The series opened with Why I Write, an essay from 1946, in which Orwell gave a summary of his literary career. Orwell argued that writers are motivated by four factors, the first of these being “sheer egoism”, caused by a wish to be recognised as a clever person. Next came “aesthetic enthusiasm”, which could follow from appreciation of external beauty, the taking of pleasure in the usage of words, and a wish to share experience. The third factor was “historical impulse”, with an author finding facts to be used for posterity. Orwell’s final motive was “political purpose”, with writers seeking to be an influence on people’s ideas about the direction of their society.
What is my motivation as a writer? I think – we cannot always be certain about motives – that the central factor is a wish for communication. I feel a need to connect my enthusiasms, ideas, and knowledge with those of fellow human beings. I also seek to give permanent record to experiences, many of which would otherwise be forgotten. Enjoyment in the creation of a piece of writing is followed by a sense of satisfaction when it is published, read by others, and discussed. From the preceding sentences, it appears the second and third of Orwell’s themes are predominant for me. I must confess that ego plays a big (too big?) part, while politics has often been a feature of my writing. My books may appear diverse in nature – spanning history, politics, and football, besides a miniature autobiography – but they form part of a logical progression, as writing is interweaved with other activities. The books and experiences are twin facets of the developing story of my life, with personal activity placed in a wider context (I could say “the bigger picture”).
I have developed a role as something of a raconteur, offering funny (sometimes slightly exaggerated) tales of my experiences. Stories are told, in animated fashion, at social gatherings, sometimes fuelled by alcohol, although audience participation (or even heckling) often proves a more effective stimulant. I have a love of trivia, and thirst for knowledge, taking delight at links between odd scraps of information. Interesting turns of phrase are often adapted to new purposes in my writing. I also make (I think) good use of irony.
Inspiration arrives from diverse sources. One of my heroes is Bruce Springsteen, many of whose lyrics take the form of extended narrative. Bruce often tells thoughtful or comic stories to introduce songs during concerts. Springsteen’s Darkness on the Edge of Town, released in 1978, was re-packaged in 2010 within The Promise: The Darkness on the Edge of Town Story, a stunning set, in which three CDs plus three DVDs are housed within an extensive book – itself placed within a box. Bruce’s masterpiece, a 43 minute album, has been expanded into discs that stretch to eight and a half hours of music and film. This is story-telling in the grand manner. Another great musical act are the Velvet Underground, an American band – managed at one point by Andy Warhol – that sold very few records during their creative peak, in the 1960s, but have built a legendary reputation, as innovators who influenced countless other artists. One of the strangest recordings by the group, and among the first I heard, as a teenager, is The Gift. A freakish short story, packed with telling incidental detail, is recited (not sung) against the backdrop of a monotonous piece of music. It is a work of genius. The words of The Gift were written by Lou Reed, and narrated by John Cale, in his native Welsh accent, this being an incongruous delivery of a tale taking place in the USA. Several years later, Cale produced Patti Smith’s astonishing debut album, Horses. Patti Smith subsequently co-wrote Because the Night with Bruce Springsteen. In 1981 I read Born to Run: The Bruce Springsteen Story, a book by Dave Marsh. This work included a reference to the novel You Can’t Go Home Again by Thomas Wolfe, which prompted me to read the latter book in 1984, when it was re-issued by Penguin. Wolfe’s novel, based on his experiences as an author, is outstanding, although rather patchy – it was compiled by an editor, Edward C Aswell, from an unfinished manuscript after the writer’s death. One section of Wolfe’s novel originated as a short story, with the clever title A Great Idea For a Story.
Hopping back over the Atlantic, from the USA to Britain, the television dramas and films of Stephen Poliakoff throw eloquent light on contemporary British society, characteristically featuring great ensemble acting, sumptuous settings, and atmospheric music. Poliakoff’s achievements as a writer and director include Perfect Strangers, depicting a large family gathering, with genealogy a major factor in a drama where secrets are unveiled, and Shooting the Past, which revolves around a photo library. Alongside film, I enjoy live theatre. One outstanding piece is Les Miserables, with dramatic action, and brilliant songs, making up for an almost impenetrable plot, set in nineteenth century France. I generally dislike films that are musicals, as the format appears false, but find the theatrical equivalent entertaining, with productions of Cats, Chitty Chitty Bang Bang (from Ian Fleming’s non-Bond novel), Peter Pan, and Wicked springing to mind. Non-musical plays I recollect as being impressive range from an adaptation of Mary Shelley’s Frankenstein to the modern O Go My Man, written by Stella Feehily. The latter is a comedy about relationships – the title being an anagram of monogamy – set in Dublin. In the novel of Frankenstein, the (self-taught) monster reads books which include The Sorrows of Young Werther by Johann Wolfgang von Goethe. In the real world, I have read Goethe’s amazing epistolary novel (a true original), plus his two part poetic play, Faust. Goethe worked on Faust at intervals across a span of 58 years, and referred to this masterpiece as “a private fairy tale”, having modestly decided the second part would not be published until after his death.
The oldest surviving stories in the world are The Iliad and The Odyssey, by Homer, possibly dating from around 700 BC. It is arguable that Homer was not really an author in the modern sense, given that his works were composed, and delivered, as oral poems. In presenting the adventures of Odysseus, Homer uses disjointed chronology, in an account full of repetition and circumlocution. This is a type of narrative that engages the attention of the reader. In the twentieth century, Homer’s The Odyssey provided a basis for Ulysses by James Joyce, who moved the action to Dublin. In a similar way, the novella Heart of Darkness, by Joseph Conrad, set in the Congo, was adapted to a new setting, with a fictionalisation of the Vietnam War in Apocalypse Now, a film directed by Francis Ford Coppola. Another of Coppola’s works is Bram Stoker’s Dracula, which rates as one of the best cinematic portrayals of the tales of Dracula. The original Dracula novel by Stoker, set in Romania and Britain, during the late nineteenth century, is full of political symbolism and repressed eroticism. In 1993 I started to write a novel, (imaginatively) entitled Dracula, that advanced the story first set out by Stoker, a century earlier, to the contemporary world. My novel is uncompleted, and dormant, awaiting possible revival in the future – just like a sleeping vampire – but that is another story for another day. Seventeen years on from starting my Dracula, I set out on another novel in 2010, with a re-write of The Diary of a Nobody, by George and Weedon Grossmith, again moving a late nineteenth century story to the modern day.
Great contemporary British novelists include David Lodge, author of the academic romances Small World and Nice Work, plus Martin Amis, whose London Fields, published in 1989, looked ahead to a turn of millennium that is now part of our past. Much earlier, the gentle writing of Henry James brought us The Bostonians and The Portrait of a Lady, described as “the two most brilliant novels in the language” by F R Leavis, one of Britain’s most influential literary critics – he strangely received a mention in the film of Bridget Jones’s Diary. In 1984 Merchant Ivory Productions released a film adaptation of The Bostonians – starring Christopher Reeve, Vanessa Redgrave, and Madeleine Potter. It is a fascinating work, in which the (admittedly unappealing) character of Basil Ransome seeks both love and success as a writer, amidst Henry James’ political satire and subtle comedy – “The Master” was a consummate story-teller. Five years earlier, during 1979, the same film production team had offered The Europeans, a dramatisation of another novel by James. Merchant Ivory have also filmed three of the novels of E M Forster, A Room with a View, Maurice, and Howards End (the latter being the book that gave us the phrase “only connect”). Moving from the sublime to the surreal, another cherished piece is The Hobbit by J R R Tolkien, a delightful fantasy about strange creatures. I was enchanted by a work that Tolkien introduces with the words “This is a story of long ago”. It also appears to be a tale from a far away land, judging by the strange maps, drawn by Tolkien, that appear in The Hobbit.
I take pleasure from the physical feeling of a well-produced book, preferring a solid hardback to the less sturdy paperback. There is sensual delight in the freshness of a new book, but I also enjoy the mature scent of an older book. In many cases, books are enhanced by attractive presentation. During the 1990s, I was a member of the Folio Society, which issues works of excellent quality. Folio publications I have read include The Wind in the Willows by Kenneth Grahame, Jude the Obscure by Thomas Hardy, and The Folio Anthology of Autobiography, edited by Angela Thirlwell. Another outstanding Folio book is Columbus on Himself by Felipe Fernandez-Armesto, which combines extracts from the writings of Christopher Columbus with biographical commentary. A visionary explorer, Columbus was also an eccentric, and often slipped into delusion. I am fascinated by the story of Columbus’ discovery of the Americas in 1492, and his attempt “to learn the secrets of this world”. Back in 1993 I read Alice’s Adventures in Wonderland plus the sequel, Through the Looking-Glass, And What Alice Found There. The Folio Society edition of Lewis Carroll’s linked novels, the latter of which places Alice’s experiences within an oblique chess problem, consists of books with matching design, in a blue slipcase. Renewed mention of Alice echoes the start of the current essay. I have reached the point where I will stop this example of story-telling, but elsewhere countless tales continue to develop, and be told, in a process full of wonder.