Waiting For Sunrise by William Boyd

In Waiting For Sunrise William Boyd returns to his very best form.  The novel’s central character is Lysander Rief, an individual every bit as intriguing as a Mountstuart or a Todd. Rief is an actor with an English father and an Austrian mother. He was brought up in England, but his German is passable and improves, and his French is not bad. He also possesses a few exclamations in Italian, we learn.

At the outset, we find him in Austria just before the outbreak of the First World War. Initially, the impending conflict does not seem to figure but, rest assured, no self-respecting novelist could let such momentous events pass without comment. The War does in fact become the principal theatre for the plot. Initially, however, Lysander Rief is visiting Vienna for purposes of consultation. He has taken time out from his professional life to seek help with a slight problem. Like so many of William Boyd’s males, situations arose when one day Lysander was caught with his trousers down. Readers of William Boyd’s novels will appreciate that his male characters are rarely backward at coming forward when trouser dropping is on the agenda. Lysander’s particular circumstances, however, offer some surprising perspectives on the practice.

Early on he meets Hettie Bull, a petite English sculptor with a common law artist partner. She has a few problems of her own, it seems, though these seem hard to pin down. He also meets a couple of relative smoothies from the British Embassy who are destined to figure significantly in subsequent events. They offer what might be described as professional assistance when needs arise. Lysander finds himself in a few pickles whose solutions depend on external input, and eventually quite a number of other challenges that originate from that initial input of assistance. His unconventional departure from Vienna leaves him in debt.

The First World War breaks out and Lysander enlists. There soon proves to have been some spice in the Viennese pickle, spice that got Lysander noticed. Assignments materialise and offers are made that cannot be refused. There is a need for special training, but even these new skills might prove no match for the challenges posed by an attractive widow in Switzerland.

Lysander needs a while to overcome the after effects of his experience Geneva. At first it seems that the case is complete, but there are more questions to be raised, questions of contacts closer to home, questions that urgently need answers. These lead to another task, an assignment that generates even more complications. And who would have thought that the libretto of a risqué opera would have caused such a stir? Surely this was no more than an illustration of Vienna’s peculiar mix of decadence and eroticism at the turn of the twentieth century. Surely? This was a city, Lysander was told, beneath which ran an incessant, fast-flowing river of sex. And which city might not?

When William Boyd is in this superb form, the plot seems to race past with surprises at every turn. But what it never does is appear in episodic form, via scenes that apparently materialise merely to move the story along. Throughout, Waiting For Sunrise is beautifully constructed and integrated, with several aspects of the action experienced, interpreted and then retold to be reinterpreted, perhaps differently, before anything comes clear – if anything ever does. The reader feel that events are really developing through the characters eyes and experience, and never feels that these people are mere cut-outs being flashed across a miniature stage.

William Boyd’s speciality must be his treatment of people like Lysander Rief, talented men whose self-assurance is significant but internally denied, whose earthy frailties, given half a chance, usually get the better of their highly developed but easily suppressed powers of reflection. Lysander Rief, when such a trousers down moment is in prospect himself reflected on this, “and noted how the promise of unlimited sensual pleasure blotted out all rational, cautious advice that he might equally have given himself.” Rief surely has fellow travellers in Mountstuart or a Todd. For Lysander, there is a fiancé called Blanche, Hettie the sculptor, a comely wench in a guesthouse, a captivatingly unattainable widow in Geneva and several dancing girls along the way, not to mention an alluring mother. The here and now always demands the total attention of such characters.

Considerations of style also separate William Boyd’s work from the mere story teller. Not only does he pepper his text with references and allusions to the historical and philosophical, he also requires the reader to change point of view. These characters inhabit the real world we, ourselves, share. They do not live in a made-up fantasy that seems to exist as a vehicle for the writer’s imaginings. And, by various devices, all of which make sense in the context of the book’s plot and revelation, we encounter Lysander Rief both from within and without, as both a first and a third person. We read about him, and we also read his own reflections on himself and the events that befall him.

Spying, espionage and intrigue during the First World War, these are at the heart of Waiting For Sunrise, and it is the plot that drives the narrative. But this plot is much more than a string of events. The only way to experience everything is in context, to join Lysander Rief on his journey of discovery. Perhaps, by the end, you will know him a little better. Perhaps.

Heart Of Darkness by Joseph Conrad

When reviewing a book as well known as Joseph Conrad’s Heart Of Darkness, there is little point in wasting time describing plot and characters. So much has already been written about this masterpiece that only a broad outline is needed. Heart Of Darkness is a tale told by a seaman to his fellow crew members while their ship is anchored in the Thames Estuary.  Marlow, a veteran of the sea, relates the story of a job he once had when he was required to navigate a great river in Africa in a steamboat to find a man called Kurtz. He – and Kurtz were dealing with a company that traded in and out of Africa, darkest Africa, as it was then often called.

As ever with great literature, it is not what happens that matters. How things develop and how they are related is always the key, and Marlow, whose voice delivers almost all of the book’s narrative, is not afraid of expressing opinion or offering interpretation alongside events. So subtle is Joseph Conrad’s character, however, that the reader never feels that ideas are being hurled from the text. Throughout we are invited to share Marlow’s world and world view in the same way that those imagined listening seamen share his story. We are never cajoled or commanded. The writer never uses the character merely to pontificate.

The darkness at the heart of the book is multi-faceted. Yes, obviously, it is the dark continent that Africa represents in the received values of the time that lies at the centre of the story. Yes, the darkness also represents the dark-skinned people who inhabited the place. One thing the modern reader must be prepared for is Conrad’s use of language, especially terms that would not today be tolerated. But Conrad’s language is already more than a century old, and sometimes things change.

On the other hand, another heart of darkness for Conrad was clearly the exploitative relationships that fostered and perpetuated colonialism. At the time, such a position would have run contrary to received assumptions. It is interesting to note that this aspect of darkness at the heart is mentioned at the outset, before the story has migrated to Africa, while we are still within sight of the heart of the Empire. There is another darkness, also, at the heart of human relationships. Sometimes people need protecting from the truth, it seems. Sometimes a little lie preserves a myth whose destruction would not help anyone who accepts its truth.

What makes Heart Of Darkness a masterpiece is that its messages manage to be both universal and timeless, despite its clear foundation at the nineteenth century. They go to the heart of how human beings interact, both as individuals and as groups. They examine motive, allegiance and self-interest. They epitomise our inter-dependence, the necessity to co-operate, but they also identify and describe an equally essential need to compete, to assert individualism, to survive, sometimes at another’s expense.

At the heart of the novel, also, is the very experience of story telling. It is not just what Marlow relates to his companions that maintains our and apparently their interest: it is also how he tells the tale and how he offers interpretation of his feelings. Like Marlow himself, we are wiser for having relived the experience. And just like the unnamed listener who ostensibly wrote down Marlow’s story, we remain spellbound by every word of this masterpiece.

Anglo-Saxon Britain by Grant Allen

Anglo-Saxon Britain by Grant Allen is a book that now comes free via Amazon Kindle, so there is absolutely no excuse for not reading it, especially when such editions can be downloaded to and read from an ordinary personal computer, at zero cost and complete convenience. This is not an advertisement, except, of course, for the book.

Anglo-Saxon Britain ought to compulsory reading for all narrow-minded nationalists, Little Englanders, British national types, English leaguers and any other set of racial purity head-bangers, plus absolutely anyone who might even suggest that isolationism is either beneficial for or a natural state of the English. Anglo-Saxon Britain is not a new book, and hence does not cover any aspects of ethnology that have been developed since the arrival of DNA analysis. Anglo-Saxon Britain is thus an old-fashioned review and analysis of available historical documents and sources. But, in a succinct and wonderfully readable form, it succeeds in summarising the issue’s complexity and communicating a beautifully rounded picture of a thoroughly complicated reality.

The English - and their Saxon and Jutish cousins – were, of course, invaders, originating in what we now call Germany, Denmark and Holland. What they brought to a Romanised, at least in part already Christian and largely unified land was barbarism, paganism and continual warfare. What they also brought with them – or at least the Angels did – was their language, a form of low German with gendered nouns that had case endings and verbs that declined into multiple forms But the general structure of that language endured, endured as its complexities of form gradually disappeared whilst its complexity of potential nuance grew. Its vocabulary welcomed successive waves of foreign invaders and its aesthetic adopted the more civilised ways of other foreigners from southern Europe.

The Danes also deserve a mention, of course, since they ruled most of what we now call England for much of the Anglo-Saxon period. And the Welsh and Celts, indigenous people, but only in a relative sense, were not only subjugated but contributed in their own way to the wholly complicated and, frankly mixed up, gene pool through inter-marriage. The point is made repeatedly that perhaps the most English – as far as the original form and sound of the language is concerned – is still spoken by the Lothians of modern-day Scotland, since the Angel settlers there were the least affected by subsequent waves of invasion.

What we do know about the English – very little, it has to be said, since they wrote down almost nothing about themselves – is that they rarely cooperated, except at the tribal or clan level, constantly bickered and argued, regularly fought one another and spent very little time on more civilised pursuits. At least some things have endured.

Anglo-Saxon Britain by Grant Allen does not trade any myths. It presents a learned, well researched and referenced account of the politics, the conflicts, the culture and language of the early English. It reminds us that the last English person to occupy the English throne was Harold in 1066 and he succumbed to an immigrant from continental Europe who moved in and made the place his own, perhaps improving it along the way. The book is superbly entertaining as well as informative, erudite and learned, but also lean, stimulating and succinct. Its sections on the language, alone, render it essential reading for anyone who is the least bit interested in English or the English.

Donald Cottee's third blog

We’ve been here a couple of weeks… - Don buys Cornish pasties, relives a holiday, remembers friends and nights out in Bromaton.

We’ve been here a couple of weeks now. We are starting to settle in. I have even tried out some Spanish. There’s a shop up the road that sells English foods, so I walked up to get us a snack. I crossed the road at the zebra by the camp site entrance. Why do I call it a zebra when it’s red and white? And whatever happened to pelicans? There was a dirty great BMW coming straight down the middle of the road at twenty ks. I thought I’d stand aside and let my social better go first, but, fucus me, the guy stopped! I nearly dropped through the floor. As I walked across, I offered a display of gratitude. I turned to face the driver and mouthed a very clear, Hylda Baker-style lip mime of “Gracias”, making sure to stress, silently, the “th” in the middle. “Thome Thpaniards thay s,” said my phrase book. “Grathias,” I mimed. The driver was clearly taken aback. “Danke schön. Ich bin Schweiss,” he said through the open window. At least that’s what I thought he said, but it could just have been, “Du bist scheiss,” but I don’t think so.

Further up on the left there’s a bar. We used to go there regularly when we came here on holiday. It was the karaoke that we went for. There’s nothing like a good sing-along. I remember the whole place striking up to a few old favourites. There was one year when there were about twenty of us, all from Kiddington, who had arranged to come over the same fortnight. We used to get together and sing every evening. It was just like being back home in the Working Men’s Club. It was a great sight to see everyone singing Country Roads because we all knew the words. I can hear it now. “Take me home - To the place I love - To the place I know - West Virginia …” It was marvellous. One spoilsport stood up and left, saying that Kiddington was in West Yorkshire, not West Virginia, the archeopteryx. I wonder now if he had a point.

We got to know all the waiters really well. They used to greet us by name when we arrived for our evening drink. “Hola, Mr Don” or “Hola, Don Don” they used to say. One of them was a bit of a joker and for him it became “Hola, Don Burro” because we had told him about my nickname. He sometimes called me “Pedo viejo aburrido[1]”, but I never did get the hang of that. Perhaps he was suggesting we ought to pay.

I called in this morning to see if there was anyone I knew, but the place has clearly changed hands. It’s been done out as an American theme bar. It’s not American and has no theme, just black walls, ultraviolet lights, a few mirrors and Heavy Metal to ring the ears. The new owner was sweeping up last night’s fag ends so I said, “Buenos días. Soy Don Burro. Bebo aquí.”

He looked confused. “Shoukhran,” he said. “Je suis de Maroc. You want internet?” I wish I understood - not to mention a Muslim bar owner... I left.

The Brit food place was just a bit further down the road. I always thought that L147, Modern European Languages, Their Development, Structure, Grammar And Context, would stand me in good stead in the era of pan-European integration, and now, in my new life, I have the opportunity to put my learned skills into action. Inside the shop I pointed in my best Spanish at the display and said, proudly, “Dos Cornish Pasty Sabor Pollo Tikka Massala Tradicional, por favor.”

I was initially gratified when the assistant did precisely what I asked. He then paused, my paper bag lunch suspended delicately between his sausage-like middle finger and thumb, the fingers of his left hand anticipating the microwave door release button. “D’yer wan ‘em warm, mate?” he asked in broadest Scouse.

“No,” I replied, keeping my Spanish accent.

It was only just after eleven so I decided to take a nostalgic detour. The pasties, after all, were for lunch, so I had at least an hour. I carried on towards the sea. It’s not too busy at the moment, probably because the schools aren’t on holiday yet, so all the travelling teachers are still at work.

As I walked past Benidorm Palace, I couldn’t help recalling the first time Suzie and I went there. It was quite soon after it opened, about thirty years ago. It’s changed a lot since then, but only on the outside. The show is probably the same. You can bank on lots of colour, well known songs, a plate-sized steak and a good night out with bare breasts, though men have to wear ties. It reminds me a lot of the famous Variety Club in Bromaton. It was built in the sixties next to Bromaton Quartet football ground. It opened in a blaze of highly selective celebrity glory with a jazz week. It was the era, of course, when BBC2 used to run live jazz prime time in the evenings, not because it was popular but because it was a fulfilment of a public service to an identifiable minority taste. Quaint, wasn’t it? We covered the development of the idea in S282 Post-War Public Service Broadcasting Ideals In Western European Democracies, contrasting it with the headlong pursuit of the lowest common denominator that emerged during the seventies and eighties. The history of the Variety Club anticipated the change. After its opening jazz, it concentrated on Sunday Night at the Palladium acts, the brand of variety that could sing or comic a star turn on television, relying heavily on names well known for their endorsement of cat food, carpets, car insurance or yogurt. I retract the last in the list because we had never heard of yogurt at the time.

It did well for a few years. Suzie and I used to go there regularly, as did a number of people from Kiddington. It was only a few miles away and it was on the bus route to Bromaton. People would save up so they could go out for a night of class every few weeks. While Reg with his organ used to fill in the gaps between the bingo in the Working Men’s Club, we used to sit with friends and compare lists of the star turns we had seen at the Variety Club. They did a special night on Sundays, with the acts, prawn cocktail, chicken in a basket and apple pie with custard for a fiver. In those days, of course, a fiver was a fiver. It was a tidy sum, a hundred shillings, or even one thousand two hundred pence in an era when a Penny Arrow actually cost a penny, before, that is, it got so small they had to change its name, because it had become too short to be called an arrow. But you didn’t get to eat your Penny Arrow watching Dickie Henderson, Vince Hill or Daisy May which is why the Variety Club cost a fiver. I can even remember speculating with my dad what kind of car each star might drive. We had to wait two hours by the stage door until Dickie Henderson came out. It was an Aston Martin. Class act.

But it was that holiday in 1981, the year of our first trip to Benidorm Palace, when Mick Watson reappeared in our lives yet again. I should rephrase that because he had already reappeared in Suzie’s life at least once per night that week. It was in one of those sophisticated cubicles that Suzie leaned across to shout in my ear, “I’m not going home.” Though the music was loud, Pete Crawshaw and his missus, Paula, both heard, though they did their best to convince us that they were still listening to the turn who was blasting out My Way at volume, with all the sincerity of a Sinatra. We had booked the table at the start of the week, some days before we had all stopped speaking to one another. I still think it was all Dulcie’s fault. She has always been a rebel, always tried to manipulate. She had started the minute we left home. She told me one thing, and then asked Suzie for the opposite. Thus we argued while she retreated to childhood’s safe ground to watch. We’d only reached the Tuesday when I left a Benidorm club early to take a sulking daughter back to the hotel, leaving Suzie at the mercy of a certain Mick Watson, whom we knew had taken over bar management in the establishment.

By then, of course, we had already been here on holiday several times. We knew the ropes; we knew the clubs and the bars. We had also come across Mick Watson in a different role, as the manager of The Dog’s on Calle Lepanto. But the place was changing fast in a way that Kiddington was not. And by 1981, he had moved on from his little shop-front pub in the Europa Centre and had become a bar manager in a club. His star seemed to be on the rise. Perhaps that’s why Suzie wanted to stay. Perhaps, on the other hand, it was that fulgurant[2] Mick Watson’s smooth talk. For a second time, he promised her the earth. It was twenty years since our first visit to beautiful Benidorm, a place we had always associated with easy-going sophistication. And then, that evening, it became a black hole of despair for one Donkey Cottee, an end to life with the stunning Suzie. It had been so different that first time, back in the sixties.

They were years of change. We were convinced we had achieved a level of sophistication unknown in human history. We had mass media, record players, the Beatles, television soaps, cars and Cyril Lord carpets. We had even started to put green peppers into salads. We had already been abroad on holiday, and had our minds broadened enough for people like Suzie, my dearest wife, to wear a poncho as an everyday garment. It was, of course, a relationship of convenience, begun during our very first visit to Benidorm’s golden sands courtesy of Suzie’s parents, near the start of that swinging decade.

We were still scratting for a living even at the end of the sixties, mind you. Suzie and I were all right because I had a trade, or at least the start of one. But many of those who had been branded secondary and modern left school at fifteen with neither paper in hand nor knowledge in head. Pete Crawshaw was one such product of post-war British educational enlightenment. He had already worked through a handful of bit jobs when he landed a waiter’s job at the Variety Club, a position he thought would be a good earner. If people paid a fiver for their Variety Club chicken in a basket, what might the tips be?

We were still on good terms, despite having gone our separated educational ways at eleven. Pete had been a labourer for me for a few months after he got the boot from Empire Metals, where he had been packing brass right angles into wholesale-trade plain cardboard boxes. So when he got the waiter’s job at the Bromaton Variety Club, we had a few pints of Tetley’s to celebrate. I can remember saying, “Thanks for the pint, Pete. It’s the first time I have known your wallet come out without its padlock.”

“It’s all changed now, Don,” he said. And we both bolted half a pint in the next gulp. We said little else.

It took only a few weeks for the story to change. He invited me out again. This time, as usual, I paid.

“I’ve had a run in at work,” he said. I can remember his gloom. There was a white foam line of ale head across his upper lip. I remember thinking his face looked as long as Charlie Carolie’s.

“I’ll get my pointed hat and saxophone,” I said, pointing politely at my own mouth.

“I’m serious,” he said, wiping away the fast popping bubbles with the back of his free hand. “I don’t think it can last. It’s a matter of principle.”

“Pete, I’m that surprised I have precisely one hair standing on end,” I thought. “So what’s gone off?” I asked, intentionally referring specifically to the Variety Club’s food.

“Trouble at t’mill,” he said.

“Sprocket’s dropped off t’mainbrace, then?”

“Aye, summat like that…”

I was willing him to be more forthcoming, but I took my time. I knew Pete had some of the characteristics of my own granddad, to whom he was distantly related by marriage. The old chap could make a ten minute speech with eight words. And Pete, like many Kiddington lads, measured his emotional intensity in pints. It was three later that the floodgates opened.

“The boss has got it in for me.”

“What have you done, lad?”

“It was a prawn cocktail. I took it back to the kitchen.”

“My God! For whatever reason?”

“There were no prawns in it.”

I remember contemplating the scenario. Here’s a punter that’s paid a good, sweat-earned fiver for a night out to see Harry Secombe. The plumbeous proplasm[3] of supporting acts is currently playing to chattering indifference. And so, no doubt doing their utmost to ignore the palmyric phenomenology of the material, they tuck into their five quid’s worth of locally up-market menu, specialities by resident chef Gordon Bloo. With mouths slobbering at the anticipation of chicken in a basket, the perfunctory starter, the prawn cocktail, arrives. Pete Crawshaw, the proud, employed waiter, himself slobbering at the promise of tips, delivers the pink and green concoction, as it streaks its way down the inside of a wine glass, a glass that will look completely out of place next to the pint jars on the table. A minute later, the unsuspecting Pete is called back.

“’Ere, there’s no deleterious prawns in this endocrine cocktail. It’s just a few strips of stentorian lettuce and a spoon of frangible pink sauce!”[4]

“So I took them back to the kitchen,” said Pete after another deep swig of Tetley’s had gone part way to alleviating his obvious despair. “That’s when the boss went for me. ‘Don’t neo-platonically tell me that there’s no deleterious prawns in the endocrine prawn cocktails, you leukopotomous squirt! It’s the meretricious new house rules now! The owners say they can’t nomothetically afford any more deleterious prawns. The parsimonious place is losing money! And you are paid to serve the detritus, not comment on its flaming validity! Now take the pre-Cambrian things back and tell the artichokes what I’ve said. Tell ‘em to eat what they’re blunging given!’” Pete took another swig of Tetley’s to lubricate his vocal chords. The last time he spoke so long at one go was probably saying the Lord’s Prayer in primary school assembly. “It’s not going to last, Don.”

And then, more than a decade after our advice session in the pub, there we were in 1981, communally experiencing the new international tourist attraction, the Benidorm Palace, an imitation surely not of the Moulin Rouge or Folies Bergère, but of Bromaton Variety Club and its celebrity prawnless prawn cocktails. We were having a holiday together. But Dulcie had been a pain in the tintinnabulation all week, moaning about the food, saying she was bored, getting the runs and then sulking in her room. Suzie had spent more time with Mick Watson than with me, despite the fact that we didn’t even run into him in his new bar at the Rincon end until the Tuesday afternoon. We had fallen out with Pete and Paula, because they wanted to do things together and the Cottees couldn’t be assembled. And, to put the Dutch cap on opportunity, Suzie announces that she is not going home. I had made things up with Pete and Paula by the end of the following week. With Suzie it took longer. If only Suzie and I had turned around out of shoat creek as quickly. As I passed The Palace this morning, drifting, I began to hum ‘Memories are made of this.’

---

[1] Boring elderly flatulence – ed.

[2] Implying flashy - ed

[3] Lead casting - ed

[4] Hard and tough and harmful to the body - ed

The Quality Of Mercy by Barry Unsworth

At first sight, The Quality Of Mercy by Barry Unsworth might appear to be a sequel. Sacred Hunger, the novel that won the author the Booker Prize, is a vast and highly moving tale about the slave trade. The Quality Of Mercy continues some of the loose ends that Sacred Hunger left, but it goes far beyond being a mere adjunct to its larger predecessor. The Quality Of Mercy makes its own points, just as significant as those of Sacred Hunger, but its form is more succinct and, in some ways, its message is more telling.

As ever with Barry Unsworth, the novel goes far beyond mere story, describes much more than the countable events that befall its characters. In Sacred Hunger, the focus was a mercantilist venture in the inhumane human trade of the eighteenth century. It was the history, its veracity, its credibility, its rawness and ultimately unacceptable reality that shone through and rendered the book a completely satisfying experience both as a narrative and as an intellectual experience.

In The Quality Of Mercy, Barry Unsworth continues the tale of the Liverpool Merchant, the ship that made Sacred Hunger’s voyage in the triangular trade. But it is more than a decade since the endeavour came to its unfortunate end and Erasmus Kemp, son of the venture capitalist whose dreams of profit proved no more substantial than a pending insurance claim, is pursuing an action against a gang of mutineers from the ship who still languish in a London jail. He is also pursuing the insurance claim, the outcome of which depends in part on how the crewmen’s mutiny is seen.

The Ashtons are brother and sister and, for their own reasons, support the abolition of slavery. One of the hand-clapping surprises of reading Barry Unsworth is his ability to interpret the history associated with his plots. There is no mere plod through events as they unfold. Neither is there cheap sensationalism derived from overstatement. What Barry Unsworth achieves is a rounded picture of issues that incorporates the complications, contexts and nuances of a debate that are often lost in summary accounts. And he always manages to achieve this with elegance, wit and considerable beauty. Abolitionists, you see, were not all liberals campaigning for human rights and concepts of freedom. Politics have always been more complex than that. Read the book to understand the nuances.

Well, the Ashtons oppose Kemp, at least the brother does. The sister, Jane, eventually makes liaisons of her own with Erasmus Kemp. His anticipation of willing enslavement by her prompts the delamation of some rather uncharacteristic promises of the kind that men are prone to make when presented with opportunity.

There is the case of Evans, who in theory has been manumitted and thus rendered a free man, but whose former owners still regard as their property to sell. There is Sullivan, an Irish fiddler from the Liverpool Merchant, who breaks out of prison to fulfil a promise to a deceased crew member that he would contact his family to tell of his fate. That family lives in Durham and work in the mines, work in a domestic slavery from the age of seven, the dark underground galleys of the mine reminding us directly of the below deck cargo hold of the ocean-going slaver. Then there is the mine’s owner, a landowner and a Lord, no less, who lives in a state of permanent debt, more interested in trinkets than lives. And then there is the dawn of capitalism in the form of the nouveau-riche Kemp’s intended purchase and reform of the Lord’s mines, a proposal characterised by notions of technological innovation, increased efficiency and projected profit. A little piece of previously unwanted land might hold all kinds of keys.

The Quality Of Mercy is thus much more than an historical novel. It is also much more than a tale of slavery and emerging capitalism. It is more than mutiny aboard ship and revenge via the Law. It is also much more than an essay o social class relations at the start of the Industrial Revolution in Britain. It is no less than a Barry Unsworth novel and therefore simultaneously emotional and intellectual, a rounded and completely satisfying experience for the reader. But it is a complex book about complex issues. Expect to be challenged.

Donald Cottee's second blog

In E283, Lexicography… - Don discusses language and the art of the blog, he examines the linguistic skills of his heritage and declares his project.

In E283, Lexicography, Etymology And Dictionary Editing Skills For Social Scientists, I encountered words I never imagined. The day I understood leukopotomy I laughed out loud. It was a question on Brain Of Britain on Radio Four. I was an addict of the show, not because I could answer the questions, but because I couldn’t - not even one. It was still an era when the working classes aspired to knowledge, rather than despised it. Suzie and I were in Dorset at the time, on a camp site near the Cerne Giant. Leukophallustry sprang to mind. When wouldn’t it? I would like to make it my contribution to the language, given the context, alluding of course to the Cerne Giant, not the CERN giant, which came in Physics P333, Sub-Atomic Mekon Layers For The Dan-Daring, and provided its own potential. I mention E283 because I learned, via its hypercatalectic stupefacient[1] word lists some absolutely metonymic adjectives.

Now in the etiquette of the blogosphere, I am learning fast, there are e-words and non-e-words. In the south of England, so I am informed, there are u-words and non-u-words. Northerners always inhabit the latter category, and, as a northerner, I never really understood the term, apart from it possessing about the same meaninglessness as describing something, brainlessly, as cool, or not cool. All I know is that it was a mechanism for exclusion, an in-word for defining something on the inside or outside of shared assumptions that I did not share.

So the internet has e-words and non-e-words, meaning that you can’t swear. You can write expletive, but you can’t write an expletive. I came close in my first entry to being moderated. This apparently threatening process merely means being edited, though not in the way that Charles The First was edited. Featherstone U. Klondike is his name and he moderates. He reads all the entries, including all three hundred ‘Ten Ways To Achieve Self-Realisation Through Diet Reconstruction’ that appear to be lodged on the site every week. He locates and scrubs out all the non-e-words. And good old Featherstone sent me a message after my first post, saying politely that bugger and arse are non-e, but since they weren’t too offensive he’d let them through just this once. But, he said - and don’t spell that with a double t - don’t do it again.

Now where I come from adjectival skills are not highly developed. The nouns and the verbs are pretty thin, as well. Most men in Kiddington only ever use one adjective, and that in the non-e gerund. But for the purposes of my project, I need to capture the flavour. I’m a Kiddington lad, you see, but now I am translated into Spain. From here, from afar, I can see my life and my culture anew, long-sight-clarified through a previous blur of myopia. I want to examine its newly revealed detail, awareness of which escaped me at the time. And this blog is my medium, the carrier of my message.

If, via these blog entries, I am to examine the identity, character, values and beliefs of my compatriots, I have to apply authenticity. If, armed with my newly confirmed academic status, I am to analyse my origins to make sense of how I finished up in a mobile home on a Benidorm camp site, I need to use the odd expletive, if only to add local colour. But expletives are non-e and will incur moderation, so achieving consistent e-status thus constitutes a challenge.

I could invent a word, of course. Indeed, I already have one. As a child I used to annoy my mother by employing an adjective derived from blood, and it wasn’t sanguine. She got so sick of telling me off she suggested a compromise. I could say sanguine as much as I liked, as long as it sounded different. So she made up a word especially for me. She said, whenever I felt like saying sanguine, I should say ‘slodidonty’. It was a pretty word. I liked it.

“What are you doing with that Lone Ranger replica Colt 45?” she might ask.

“The slodidonty thing’s bust,” I could now reply.

I grew out of it.

So I could use my word in these blogs, but you would grow out of it quicker than I did. And if too many slodidonties gummed up Featherstone U. Klondike’s grammar checker, I might get moderated anyway, thus defeating the object of using its absurdity.

An alternative approach has already been used. I could employ some suitably acceptable word, such as adjectival, and curse merrily away. “Stuff this adjectival bus shelter,” I hear the lad say, as he kicks out the bottom panel on the left. But it lacks colour. It has also been done before in a fictitious account of a real life. As Donald Cottee, blogger, I should distance myself from such an approach to ensure no reality muscles its way into my fiction.

My solution is to employ my E283 skills. Why did I do the adjectival course in the first place? To use it, of course. So whenever I need to say something colourful, I am going to employ a colourful adjective, or even a noun or verb occasionally. By colourful, I mean something you wouldn’t expect to write on a shopping list or use in polite conversation outside of a university. Pseudohermaphrodite might be an example. So I can have my young lad say, “Stuff this pseudohermaphrodite bus shelter” as a prelude to booting out the ill-secured lower panel. I can use my skills, get my meaning across, keep things varied, remain thoroughly e, and still get past Featherstone U. Klondike’s solipsistic grammar checker. You, my reader, can then substitute what I intended. Problem solved.

 So what is my project? Well, it’s partly a chronicle and partly a history. The first aim is quite a pastime these days. We have Brits moving to France, Brits moving to Spain, Brits moving to Italy, Bulgaria, Turkey, Dubai and wherever, anywhere but Britain. They all tell their stories to the folks back home. We have intimate detail of how they grew their first olive, how the ceilings fell in, how the local attorneys rip you off, about the first time they really enjoyed sardines, about how many things you can do with a clove of garlic and about how you can use gunpowder to cure baldness. In this aspect of my quest, I accept the clichéd status to which I aspire. I’m from a mining village in Yorkshire, for God’s sake! What do you expect, imagination? But the second part of my agenda is what makes my project different. This will be more than a diary, more than a travelogue, and more than a renovation project. It will examine, from an academic viewpoint, precisely what Suzie and I have left behind. We aren’t here just for the weather and the wine. We’re here, in part, because our origins decayed to free us. Our roots were so secure, at one time, that you couldn’t have pulled us out of Kiddington soil with a JCB. At sixty-four, I was wafted abroad by a breeze. The question is, why?

There is a third, and more nebulous goal, a goal that can be realised merely by the very existence of this blog. Since the invention of writing, the promulgation of ideas has been the privilege of the few. Entitlement in publication, if I might mix disciplines, has always favoured the resourced. Either your face fit, or your wallet did - or whatever you used to carry around your readies in the era of The Epic Of Gilgamesh. With the rise of the internet, this has changed, and I intend to be one of the first to place a permanent text in this new era, which I will label the “phenomenological phenomenon”, or pp for short. Quietly, the common man’s voice (sorry, pc), the common person’s voice is now being heard. Never before in the history of humankind has the ordinary person been able to promulgate. How would history have judged Alexander The Great if those conquered could have blogged about their experience? And what about those raised from the dead by certain miracle workers? Would they have blogged? Just imagine: “Fell asleep after too much unleavened bread for lunch. Hysterical father pulls tramp off the street to try and wake me, because now that I am obviously pubescent he won’t come within five cubits of me. Tramp sits on my bed, shakes it and wakes me up. Father declares it a miracle and offers a shekel to get rid of him and his mates.” Yes, they would have blogged, and in the pp era, they can. Vox pop will thus explode myths, or merely create them, like it has always done.

For the first time in human history, the ordinary person has a say, at least that’s what we learned in Media M101, Althusser, Derrida, Post-Modernism: An Introduction To Neo-Marxist Analysis Of Soap Opera. It’s a partial viewpoint, of course, but no more partial than those who published in the past. A search for Donald Cottee, in the era of pp, produces results. In all previous eras, these people would have died unknown, and remained so, their contributions eternally unrecognised. The information age has thus changed everything. It allows the claiming of previously privileged territory by the common person, and I can now seek my own immortality via its free space.

Back in Kiddington we have the lad who kicked in the expletive bus shelter. I watched him just a few weeks ago. The shelter is by the church, a dark stone structure built by miners who gave their labour for free. That was just over a century ago. Across the road is the cemetery, where many of the poor archimandrites[2] are buried, their headstones removed a generation ago when the place was tidied up by a council worker with an excavator, an act that afforded them the eternal anonymity that was the birthright of their era. Across the fields beyond, clearly visible from the bus shelter, is where Kiddington Colliery used to stand, the apparently permanent institution that absorbed miners’ labour, encrusted their lungs, made their livelihoods and took their lives. It was also tidied up, demolished, in fact, smoothed over and grassed, because a certain government decreed that our nation no longer needed a coal industry. Energy prices rose and British Coal, now predominantly not British, has moved back in to skim off the grass and topsoil to open-cast what’s left of the saliferous spoils. Crepusculate[3] the stuff that’s still underground.

So when I watch this lad, this specimen of Kiddington’s future, walk under the shade of the church bus shelter, I have parallel stories in mind. I watch him as he starts to poke a Doc Marten toe at the bottom panel. In my mind’s eye, I see a permed lady fixing on a target, a summary symbol of what she wants to destroy. I see a lad start to kick hard until the panel breaks away and flaps loose. I see the woman’s plan go into operation. The hired assassin hits his first targets. I see the boot smash the panel. I see a war waged by a government against its own people. “They should make ‘em better, my dad says. You can just kick them to bits,” says the lad. “It’s cheaper to buy it from Poland. Dimorphicise the ocelots,” said the government. Put the boot in.

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[1] Extra text likely to induce sleep - ed

[2] A substitution for an expletive. Henceforth I will only insert references when expletive substitutes might have relevant meaning - ed

[3] Implying a contaminated end to mining - ed

A Song For Nemesis by Len Harper

A Song For Nemesis by Len Harper will appeal to any reader who likes a book to be action-packed and driven by an explicit and largely linear plot that occupies the narrative focus and, apparently, the entire psyches of most of the characters. Written in the style of its genre, A Song For Nemesis is effectively a screenplay that has been filmed Hollywood-style. The plot is revealed largely through dialogue between pairs of characters, with occasional musings offering background and interpretation that operate rather like incidental music. This stylistic device could be a weakness – and usually is – but in the case of A Song For Nemesis by Len Harper, it subtly enhances the plot, since the book’s principal character, Enriqué, is a film maker pursuing his craft.

In all books of this genre, any summary of the plot’s content becomes a spoiler, since finding out what happens is the main reason for reading the book. But it is possible, without spoiling the plot, to mention some settings, contexts, themes and characters.

A Song For Nemesis opens in London, and much of the action is set in the west of that city. It starts near the Oval, visits Holland Park and goes as far afield as Hammersmith. Some people, it seems, have to keep on the move, because there are snipers with rifles and silenced handguns, plus road-rage drivers with powerful cars who mean business, applying their attentions mainly to Enriqué. It seems that the hit-men - or man, perhaps, because balaclavas can be changed - is none too competent, since the job seems to be beyond him. But, as the plot unfolds, we appreciate that there might be method in such incompetence, since mere madness might be the eventual motive. It might be Enriqué’s project that is the target, but is the aim to prevent it or, perversely, protect it?

The first event in A Song For Nemesis is Enriqué’s proposal to Lena, who just happens to be in a rock band. She is going to accept the offer, can’t wait, it seems, but first she has to do a gig. And at that gig a hit-man bursts onto the stage and brings the song to an abrupt end. The question is why? The answer may become clear towards the end of the book.

Enriqué is an interesting character, who surely would have been more interesting had we got to know him better. He is an émigré - perhaps refugee? - from El Salvador. He is also a film maker and a competent one, who likes to lace his entertainment with traces of meaning and significance. On an assignment in El Salvador he gets shot. A kitchen knife doused in a disinfectant of moonshine digs out the bullet. The blade is handled by Senica - pronounced Seneeca - with such aplomb that the wound seems to heal in no time at all. Cutting someone’s arm to bits, it seems, is a real come on, because Enriqué and Senica bond, with the lady eventually playing a virtually non-speaking role in that crucial film that the director is making.

If a murder and an international conflict characterised by terrorism and guerrilla warfare were not enough, these characters also have to deal with an international conspiracy. Yes, there’s a secret society that is so secret that the whole world seems to know about it, right down to its origins in central Asia, the brainchild of a descendent of Genghis Khan, no less. There are capitalists whose corporations are associated with a covert drive for world government, making a change from global domination, though in the end it may amount to the same thing. There is an upper crust family in Oxfordshire, whose generations look down from wall portraits to haunt the living heirs. They have their Damascus moment, but it happens in Oxford, though they do have a flat in London, as well. There is an elderly magnate in the United States, a curiously ambivalent figure who has some even more curious employees, and a landed aristocrat with generations of ancient lineage in Switzerland… But this is all getting very close to the substance of plot and plotting, of which there is much.

El Salvadorean émigré Enriqué eventually makes his film, and its revelations prove immediately significant. But what the film is about and what transpires along the way will only be revealed if you read A Song For Nemesis by Len Harper.