Spectator Life

Nowadays whenever an elderly celebrity dies – consider the death last month of Gene Hackman as a case in point – one of the first things that happens is that a chunky clip of them appearing on a talk show such as Wogan or Parkinson gets shared on social media. Before you know it, you’ve spent three or four minutes listening to them regale television-watchers of the 1970s, 1980s or 1990s with a reflective anecdote or a personal story that reveals something important or even profound about their lives and animating passions or influences.

Experts warn that doctors like me risk a condition known as ‘compassion fatigue’ – an emotional numbness that comes from too much caring for too long. But aren’t we all on the edge? Distant hardships are now visible as they happen, and the sense that victims are everywhere becomes vividly real. Newsreaders, documentary makers, editorialists, politicians and campaigners imply we’re shallow unless consumed by the wretchedness they describe. I meet the unfortunate, struggling and afflicted on my ward rounds. And I deal with those who have been made frail by age, bad luck and bad choices. Obstetricians get flowers and wine for helping bring wonder into people’s lives, orthopaedic surgeons for fixing hips and restoring freedom. I tend not to get gifts.

The decline of Radio 3 makes a sad story. Established in 1967 to reflect the world of classical music, and high culture in general, it has become a swamp of mediocrity, peopled by presenters who might feel more comfortable on a pick ’n’ mix stall. Every day, in almost every way, it seems determined to forfeit the goodwill of listeners who remember what public service broadcasting used to sound like. Last week, building up to International Women’s Day, the station fluttered its feathers like a randy peacock. The Kanneh-Mason family, those latter-day Von Trapps, were on parade, and there were lashings of featherweight female composers. In the case of Florence Price, a favoured daughter, featherweight is possibly a division too steep.

Any old fossil like me keen on harrumphing that popular music isn’t what it used to be will have taken a certain snarky pleasure on reading that, last year, no British act figured in the world’s top ten singles or albums for the first time since 2003. To be fair, 2003 wasn’t the best year for chart music ever; Dido had the top-selling album – going 6x platinum – with Justin Timberlake, Christina Aguilera, Daniel Bedingfield and Norah Jones completing the top five. The bestselling single of 2003 was the Black Eyed Peas’ ‘Where is the Love?’, followed by ‘Spirit in the Sky’ by Gareth Gates and the Kumars, R. Kelly’s ‘Ignition’ (Remix)’, ‘Mad World’ by Gary Jules and ‘Leave Right Now’ by Will Young.

There was a time when the word ‘toxic’ was applied in only a handful of circumstances. There was the stuff that occasionally oozed out of a power station into the North Sea and made the fish go funny. Or there was the substance that Christopher Lloyd would stick in the gull-wing doored DeLorean to make it go back to 1955. More prosaically there was the category of toxicity that included rat poison, bottles of bleach or those small sachets that drop out of cardboard boxes containing newly purchased electronic goods. They were generally labelled ‘toxic’ and for good reason. But then this all changed. I’m not exactly sure when it happened, but at some point in the space since Britney Spears’ 2003 hit of the same name and about five years ago, the word went bananas.

What began in 1998 with Tony Blair standing in the Globe Theatre to announce a new celebration of books has morphed into something much bigger. Along with Black History Month or World History Day, tomorrow’s World Book Day is now a full member of the woke calendar. This calendar has grown – largely thanks to the UN, which spends millions inventing such initiatives – into a global non-profit industry. In March alone, we have Zero Discrimination Day, World Wildlife Day, and World Day for Glaciers. As an author of several books, I’m all for celebrating reading, poetry and especially book buying.

The death of the painter Jack Vettriano at the age of 73 is sure to delight at least one art critic: the Guardian’s Jonathan Jones. Jones has consistently attacked the creator of The Singing Butler, Britain’s best-selling single image, as ‘brainless’ and ‘not even an artist’. He derided his work as ‘a crass male fantasy that might have come straight out of Money by Martin Amis.’ Nor is he alone.

The news that the Imperial War Museum is closing Lord Ashcroft’s Victoria Cross and George Cross gallery is sadly not a great surprise. It’s the latest act in the ‘wokeification’ of this once outstanding museum. Writing in the Daily Telegraph last week, Lord Ashcroft said that the IWM didn’t even have the ‘courtesy to inform’ him of the closure. Rather, it issued a statement in which it thanked him for his generous 15-year loan but said the exhibition will shut permanently on 1 June. The reason, explained the IWM, is to create new space ‘to allow us to share more stories of conflicts that are within many of our visitors’ living memory’.

Chiselled out of stone in around the 1st century AD, the scene in this image gives a powerful snapshot of the excitement of gladiatorial combat. In this carving found in Turkey – once a key part of the Roman empire – the opponents face each other head-on, with a look of grim determination. From behind their curved rectangular shields, both appear ready to lunge with short stabbing swords. However, this gladiatorial fight differs from what you might expect in one crucial way: both opponents are women. Look closely enough and you will see the gladiator on the left has her long hair in a plait which snakes down to a bun at the bottom of her neck.

The comic writer George Mikes, who died nearly 40 years ago, knew he had made it when he received a fan letter one day from Albert Einstein. Mikes, the scientist said to him, was blessed with ‘radiant humour… Everyone must laugh with you, even those who are hit with your little arrows.’ Chief among Mikes’s targets were the British people, whom the writer – a refugee from Hungary – had chosen to spend the greater part of his life among. He had come to the UK on a visit in 1938 and wisely, given what would happen to his country in the years that followed, decided never to leave. Though it describes an England now long vanished, his 1946 book How to be an Alien, a comic study of the country and its foibles, brought him fame and acceptance.

Hardly a month goes by without a report of guerrilla rewilders at work. Lynx released in the Cairngorms, wild boar on Dartmoor, beavers everywhere and, no doubt, before long, wolves and bears – if neo-Rousseauist guerrillas can find a ready supply and achieve it without being bitten.  Usually, these illegal releases of formerly indigenous-but-no-longer-native animals are in national parks, reinforcing my view that national parks give people a state-sponsored sense of entitlement to behave as they please on private land. The fact that the vast majority of farmers are against such reintroductions seems to give added incentive to the rewilding guerrillas. The extinction of family farms at the hands of Rachel from Customer Complaints is bad enough.

More than one in five people in the UK is out of work at the moment. As lockdowns lifted, many people developed anxiety and depression – most of which can be alleviated by companionship, routine and having your own cash. What I can’t understand is young, fit people not working. From the age of 13, I stood in a cake shop every Sunday, boxing pâtisserie for affluent customers. The old lady who owned the shop would mutter for us to hurry up as there was a queue. It was a knackering job, being on my feet all day, and the owner didn’t trust her charges to work the till. So we had to hand the money to her, she would hand us the change, which we would then pass on to the customer.

He’s the best-known Briton ever to have boldly gone into space: the first to board the International Space Station, the first to carry out a space walk. Major Tim Peake even ran a marathon while in orbit. So why do I wince every time I hear his name?  When I was growing up, shortly after the Apollo moon landing, the portentous language of that mission – ‘The Eagle has landed’, ‘One small step’ etc – had permeated global consciousness. So when space travel was depicted in popular culture, in music and film, it was often with the atmosphere of an existential psychodrama – in Space Odyssey (Kubrick), Space Oddity (Bowie), ‘Rocket Man’ (Elton).

There is a certain comic archetype that is particularly British. The likes of Pooter, Mainwaring, Hancock, Fawlty and Brent are in a tradition – going back to Falstaff, perhaps further – of hopelessly optimistic yet socially oblivious dreamers. One such character is John Shuttleworth, created and played by Graham Fellows. For the uninitiated, John Shuttleworth is a retired security guard and aspiring singer-songwriter from Sheffield who lives with his dinner lady wife and two children, Darren and Karen. He performs mainly at hospices and drop-in centres, often for no more than his travel money. His career is inexpertly managed by his next-door neighbour with whom John enjoys a generally warm, though occasionally fractious, relationship.

It’s open season on cats. Last month the Scottish Animal Welfare Commission (SAWC) floated the idea of 'compulsory containment of cats in vulnerable areas', and added that in some new housing developments felines could be banned altogether.  The report prompted a deluge of what I am going to call catphobia, for no other reason than that I’ve always wanted to coin a new word. There is an existing word for fear of cats (ailurophobia) but this isn’t that. What’s emerged since the SAWC report was published has, rather, been more like what I might call, if I were woke, a form of anti-cat racism. But that would be silly, and I’m not woke, so I’ll just call it cat hatred.

Do kids still have hobbies? Maybe hobbies isn’t quite the right word. What I mean is a passionate interest in something fairly adult, something more than playing with toys. For example, a child might get precociously into theatre or birdwatching or medieval history and have a first taste of adult enthusiasm for something. I was into magic, meaning conjuring tricks. This seemed the most interesting thing about the world, the clear pinnacle of its complicated cultural array. Why wasn’t everyone fascinated by the fact that it was possible to perform acts of seeming wizardry? The magic bug bit me when I was about 11 – who knows why. Maybe it was my uncle doing a card trick, maybe Paul Daniels on television, maybe a basic magic set someone gave me. I had to know all about it.

Pelham Grenville (PG – or Plum) Wodehouse breathed his last on Valentine’s Day fifty years ago. As Evelyn Waugh saw it, Wodehouse inhabited a world as timeless as A Midsummer Night's Dream and Alice in Wonderland. Wodehouse himself said it was as though he was forever in his last year at school. It was, Waugh said, 'as if the Fall of Man had never happened'. In a letter to some admirers, Wodehouse wrote: The world I write about, always a small one – one of the smallest I ever met, as Bertie… would say – is now not even small, it is non-existent. It has gone with the wind... In a word, it has had it. But I have not altogether lost hope of a revival. Of course, that revival never came, and Plum died aged 93, just six weeks after he was so belatedly knighted.

As we approach with anticipation or dread 14 February, the day we traditionally celebrate love and all things amorous, a certain demographic will instead be observing a rather less passionate and altogether more bland occasion: ‘Palentine’s Day’. Commemorated on 13 February, this is apparently the date upon which to honour platonic friendships instead of romantic engagements – and it’s proving increasingly popular among Generation Z. It all started with ‘Galentine’s Day’, a celebration of female friendship invented by the character Leslie Knope in American political satire mockumentary Parks and Recreation in 2010. As the concept moved from comedy to real life it morphed into the gender-neutral ‘Palentine’s’ – lest anyone should feel left out.

‘Centrist dad’, a term that has been with us for a decade or so, has never exactly been a compliment. In 2017, even Tony Blair – then still pretty close to being political toxic waste – disavowed the label, declaring: ‘I’m not a centrist dad.’ In that same year a chap named Matt Zarb-Cousin, a spokesman for Jeremy Corbyn – who astonishingly was the leader of the opposition at the time – described centrist dads as ‘middle-aged men who cannot come to terms with the world and politics changing.’ Zarb-Cousin added hubristically: ‘They think they must know better because they are older and wiser.’ (Fortunately the centrist dads did know better, and so did the country, rejecting Corbyn in 2019.

Antique shops are melancholy places. The deep leather armchairs, Anglepoise lamps and bamboo bookshelves. They ask questions: who sat, worked or read using these? Banal questions, possibly, but life is generally banal, and no less poignant for that. It’s not an unpleasant sort of melancholia. Quite the opposite. If I had to create a word to describe the feeling, I’d say it was melanphoria: ‘a state of intense excitement arising from a feeling of deep sadness’. One feels both a nostalgia for the lives of strangers and a sense of life’s possibilities. If this is abnormal, I would ask any amateur psychiatrists to write to The Spectator offices. I am physically unable to go into any antique shop without buying something. It is rarely a grand purchase.

As a girl, and later a woman, prone to barbs and punchy elocutions, I have encountered a great many repercussions for my words. My re-education began in primary school when the mother of a classmate angrily rang my mum to tell her that I had said this or that outrageous thing to her daughter. (A daughter who was herself tough as nails and a crafty little madame; I never picked on those weaker than me.) Over time, the pain of fallouts with school friends became the stress of getting communication wrong in the workplace, which carries its own, more formal and sinister consequences. Now I try to pause and be polite and ‘reasonable’ (one must be ‘reasonable’!) no matter how angry, anxious or upset I feel in the face of blatant foul play, falsity or injustice.

In a small, dark room in the depths of Banshee Labyrinth, a gothic-looking venue just off Cowgate in Edinburgh, 11 people cheer and clap as I thank them profusely for spending the past hour with me. My backdrop is a red and white no-smoking sign and two coffin-shaped blackboards with drinks offers scrawled on them in chalk, and the portcullis-style door offers little soundproofing from inquisitive festivalgoers peering in and wondering aloud whether to take one of the 40 seats – but the setting is perfect for my first ever Edinburgh Fringe show.

Anyone of a certain age is aware of the urban legend that links Marianne Faithfull, a Mars bar and Mick Jagger. But Marianne’s death yesterday at the grand age of 78 (given her lifestyle, how did she get that old?) really does remove one of the last living links with the golden age of rock and roll in its wildest youth. For Marianne embodied every cliche associated with rock excess: the lover of three of the original five members of the Rolling Stones (Mick, Keith Richards and Brian Jones), she also took on David Bowie, but had the good sense or taste to reject the amorous advances of Bob Dylan and Jimi Hendrix.  After the affair with Mick ended, Marianne had a lost weekend in the 1970s lasting for five years while she was deep in the throes of heroin addiction.