Holy Disorders, by Edmund Crispin

First published in 1945, this is the second of the detective novels starring Oxford don and amateur sleuth Gervase Fen. Following the events of The Case of the Gilded Fly, we rejoin composer and church organist Geoffrey Vintner, now in a London cab with a loaded revolver. He also has a telegram from Fen:

"I AM AT TOLNBRIDGE STAYING AT THE CLERGY HOUSE PRIESTS PRIESTS PRIESTS THE PLACE IS BLACK WITH THEM COME AND PLAY THE CATHEDRAL SERVICES ALL THE ORGANISTS HAVE BEEN SHOT UP DISMAL BUSINESS THE MUSIC WASN'T BAD AS ALL THAT EITHER YOU'D BETTER COME AT ONCE BRING ME A BUTTERFLY NET I NEED ONE WIRE BACK COMING NOT COMING FOR LONG STAY GERVASE FEN." (pp. 3-4)

We learn that a local organist has been attacked and knocked unconscious, and that Vintner has also received an anonymous letter threatening that he will "regret" any trip to Tolnbridge. So, gun in hand, he heads to Tolnbridge (in Devon), stopping first at a London department store to acquire a butterfly net. There, he is set-upon by a would-be assassin in the midst of the sports equipment. In the ensuing battle, runaway footballs cause chaos on the lower floors of the store.

All this is within the first 10 pages, a mini-adventure like something from a silent comedy setting us up for the main event. As before, this is an arch and witty detective story, but much more in the John Buchan mould than its predecessor. One element of the plot involves a teenage girl drugged with marijuana to do the bidding of the villains, while another involves witch trials from 1705 and a modern-day coven led by a villainous priest, but really this is a shocker about Nazi spies working undercover in England. Oh, and Vintner meets a young woman in Tolnbridge and immediately falls in love.

For all it's fun, and peppered with literary allusions and jokes, the last few chapters are really suspenseful - Fen is kidnapped, badly beaten by the villains and there's added resonance here in the fact that these Nazis ruthlessly use gas to dispose of their victims. Rather than ill-fitting the light comedy / cost detective story stuff, this real-world horror works extremely well. The eccentric, idiosyncratic Fen is nonetheless a hero, still cracking jokes as the villains rough him up, in a manner that reminded me of James Bond in Casino Royale. There's something, too, of the plucky spirit of Went The Day Well? (1942).

 "'Do talk English,' said Fen, with a touch of acerbity. 'And try to stop imagining you're in a book.'" (p. 218) 

Still Life, by Sarah Winman

Ulysses Temper is a British soldier in Italy during the Second World War. There he befriends art historian Evelyn Skinner, and helps her rescue paintings from the conflict. We follow Ulysses home to austere, post-war London, to discover that his wife Peg has had a baby with someone else and now wants to divorce him. Ulysses bonds with his ex-wife's daughter in a way Peg never has, and when he returns to Italy the girl goes with him. Around them flit and linger other lives, a cast of misfits variously longing and grieving and muddling things out. Along the way there are musings on fate and art and love, and a sense of the muddle slowly being worked out...

I loved this strange, big-hearted ramble of a book, its vivid characters, its love of life and the echoing horror of loss. The death of one kindly character late on hits extremely hard. How fitting, too, to fall into a novel all about passion for the art of Urbino and Florence as I drove to the memorial for my old A-level Art History teacher, who on Friday afternoons more than 30 years ago shared his joy at Giotto, Uccello and Massaccio.

The Far Country, by Nevil Shute

This is a very odd love letter to Australia, begun soon after the author emigrated there in the summer of 1950 and published in 1952. I borrowed my mum's battered, second-hand first edition, long missing the original dust jacket and relinquishing its spine as I read it.

In Australia, sheep farmer Jack Dorman finally pays off decades of debt and - despite a large tax bill to come - realises he is now wealthy. His wife Jane is worried about her elderly Aunt Ethel back in England, who she's not seen in 32 years (when Ethel was the sole member of Jane's family to back her relationship with Jack). Jane intuits that Ethel is short of money, so the Dormans, who've regularly sent Ethel letters and cake mix, now send her £500.

Things are far worse than they could imagine, and Ethel is starving to death in her nice house in Ealing, having sold most of her furniture and anything else of value from her days abroad. Ethel's granddaughter, Jennifer Morton, finds her in this state and cares for the old woman in her last days. But the book is pretty blunt about what has done for this poor woman: having once lived a rather grand life in Petersfield and then as a dutiful wife of empire out in Burma, she's been left destitute and unnoticed by, er, the new National Health Service. The independence of India has also meant the end of her pension. It's as if no one was neglected before the NHS; that before the welfare state there was no need of welfare. Or perhaps there's something more sinister: that if only we still had an empire and people knew their place, this sort of thing wouldn't happen to someone of her class.

The war is also to blame, but the privations suffered in England - which are ever increasing, long after the end of the war - seem to be the fault of the post-war government so far as the author is concerned. Jennifer works for a ministry, and we're told,

"It was manifestly impossible for anyone who derided the Socialistic ideal to progress very far in the public service; if a young man aimed at promotion in her office he felt it necessary to declare a firm, almost a religious, belief in the principles of Socialism." (p. 91)

It's quite a claim, but really it's Shute who is being unfairly partisan. The sense is of an old, glorious England now lost to the awful unfairness of egalitarianism. Dying, Ethel tells Jennifer,

"It's not as if we were extravagant, Geoffrey and I. It's been a change that nobody could fight against, this going down and down. I've had such terrible thoughts for you, Jenny, that it would go on going down and down and when you are as old as I am ... you'll think how very rich you were when you were young." (p. 71)

When the old woman dies, Jennifer's father goes through her things and finds a telling document - a recipe for a cake given to Ethel on her wedding day.

"What a world to live in, and how ill they must have been! His eyes ran back to the ingredients. Two pounds of Jersey butter... eight weeks' ration for one person. The egg ration for one person for four months... Currants and sultanas in those quantities; mixed peel, that he had not seen for years. Half a pint of brandy, so plentiful that you could put half a pint into a cake, and think nothing of it. ... He had eaten such cakes when he was a young man before the war of 1914, but now he could hardly remember what a cake like that would taste like." (p. 77)

The irony, of course, is that this woman starved to death, with only the cake mix to sustain her.

Ethel leaves her new money to Jennifer, making the girl promise to use it to visit Jane in Australia, and perhaps look for a better life there - like the one Ethel once knew in England. The doctor who treated Ethel is also leaving the country for a better life but Jennifer has reservations about leaving her elderly parents. Others suggest Australia will "probably be all desert and black people" (p. 95), or make an economic case for the value of migrants as an investment made by a particular country.

"For eighteen years somebody in this country fed you and clothed you and educated you before you made any money, before you started earning. Say you cost an average two quid a week for that eighteen years. You've cost England close on two thousand pounds to produce. ... Suppose you go off to Canada. You're an asset worth two thousand quid that England gives to Canada as a free gift. If a hundred thousand like you were to go each year, it'ld be like England giving Canada a subsidy of two hundred million pounds a year. It's got to be thought about, this emigration." (p. 89)

Despite this, Jennifer sets off to Australia for a temporary visit, certain she will then return home. At 24, she has never eaten grilled steak until boarding the ship - which comes as a great surprise to the Australians (p. 135). She in turn thinks very highly of their modest work in farming and producing food. A lot is made of the virtue of hard graft. The Dorman's have become wealthy after 32 years of toil, and repeatedly say they're glad that wool prices will soon fall so that their children don't end up too indolent. At the end of the book, Jennifer is appalled by a man visiting a doctor in the NHS wants,

"medicine and a certificate exempting him from work because he couldn't wake up in the morning." (p. 314)

Yet on the very same page, Jennifer organises things so that the doctor in question can have more lunches and dinners away from his patients, helping him to bunk off. And then,

"She was staggered to find out how much her mother's illnesses had cost, how much her father had been paying out in life insurance premiums for her security (pp. 314-5)

- presumably under the old, unjust system that the NHS replaced.

In Australia, there is no desert and there are no aboriginal people, though migrants from eastern Europe are treated as a lower order. Jennifer is welcomed by the Dormans, and cannot persuade their young daughter that a trip to England will only be a disappointment. Then there's a serious accident and no doctor available to help two men desperately in need. Carl Zlinter, a Czech immigrant working the land, was a doctor in his own country before serving with the Nazis, but he is not allowed to practice in Australia without retraining for three years. With the men in desperate peril, Jennifer assists Zlinter in carrying out highly risky operations to save the two men's lives, but one of them doesn't survive.

As an inquest looks into this and threatens to deport Zlinter, he gets closer to Jennifer, and is also haunted by the discovery of a gravestone bearing his own name and place of origin. It's for a man who died some decades previously, on the cusp of living memory. Zlinter is soon on the trail of the surviving, elderly people who might have known his namesake and can shed light on his story...

This particularly struck a chord because I'm researching the life of David Whitaker, who in 1971 adapted this novel for Australian TV (broadcast on ABC in 1972). Just as with Zlinter, I've been tracking down surviving paperwork and trying to speak to now-elderly people who might remember my man. There are many parallels between The Far Country and Whitaker's life. In 1950, he was living with his family in Ealing, streets away from the fictional address of Aunt Ethel. The house may also have had relics from India, where Whitaker's mother was born. The age difference between Zlinter and Jennifer is similar to that between Whitaker and his first wife June Barry. As with Jennifer, June Barry returned to Australia leaving Whitaker to work in Australia, with a shadow over their future together...

In fact, for all Jennifer clearly falls for Australia, there is plenty here to count against moving to this far country. There's the boredom of life on the farms, especially for the lone women keeping homes there. There's palpable danger given the lack of qualified doctors and the frequent risks of fire. There's also the philistine culture. Zlinter isn't the only one whose skills are overlooked in Australia. He buys a painting of Jennifer from Stanislaus Shulkin, a plate layer on the railway line who was once professor of artistic studies at the University of Kaunas. 

Perhaps there's something here of the author: an engineer who also wrote novels, at once dirty-handed grafter and lofty man of arts. But surely it can't be a virtue to overlook the talents of Zlinter and Shulkin; it's squandering the investment, just as Shute argued before.

For all Australia offers a future to those prepared to work, Zlinter and Jennifer's happiness is secured by an inheritance that comes quite by chance and to which they're not entitled, requiring Zlinter to transact business with some slightly dodgy characters. He and Jennifer agree to keep the details secret - implicitly because they know that this is wrong. It's a necessary cheat because (just as with the Dormans), the rewards take a long time to win if they're to come at all. There are plenty of characters for whom things haven't worked out.

One reading of all this might be that Shute sets up an initial prejudice - bad old England against verdant, rich Australia - which he then proceeds to complicate and pick at, resulting in a richer, more complex portrait. But if so, the case is made in bad faith and the result is a very odd book.

• Me on Requiem for a Wren, by Nevil Shute

Putin's People, by Catherine Belton

This extraordinary, meticulously researched book is an essential read just now. Belton charts the rise and rise of Vladimir Putin from his early days in the KGB to the present day (or 2020, when the book was published), to show where everything going on at the moment came from. There's a lot to take in: the scale of the kleptocracy, the astonishing sums of cash involved, the huge number of people caught up in it.

There's a lot on Russian links to Donald Trump, going back many decades, and lots on Putin's long-standing interest in Ukraine. There's lots on Russian support for Brexit and the corrosive effect of "black money" in London. What a lot of damage has been done; the horror of it all is exhausting.

Starlight Days, by Cecil Madden

Cecil Madden was "the world's first television producer", according to the cover of this memoir edited by his granddaughter, Jennifer Lewis and published in 2007, 20 years after his death. Madden begins with that first broadcast: having been in BBC Radio since 1932, in 1936 he was given nine days' notice to put together the very first television programme, made at Alexandra Palace and seen on TV sets demonstrated at the Radio Show at Radiolympia from 26 August.

“I decided to put on a variety show, and there was no time to waste. I phoned a songwriter, Ronald Hill, and commissioned a new song. He came up at once with ‘Here’s Looking at You!’ a title that was an inspiration. Titles are very important and I decided that our whole show should be called ‘Here’s Looking at You’. This move intrigued the press and cheered the radio industry.” (p. 8)

There were 20 performances of this show, running until 5 September. Madden then produced the magazine programme Picture Post, broadcast on 8 October. Television began officially on 2 November, though Madden recalls of that opening night,

“Frankly, it was pretty dull.” (p. 72)

What follows is a not always chronological memoir of those early days, battling to make the new medium exciting and inventive. Staff swapped roles, taking turns to direct as,

“it brought endless new ideas and trained everybody” (p. 71)

There's lots here I'd already gleaned from The Intimate Screen about the intimacy that TV provided between programme maker and viewer, but this is a first-hand account, much of it listing productions and the people involved, some of it not listed on IMDB. Madden says that,

“Planning the television schedule there was never any doubt in my mind that the emphasis should be on drama.” (p. 74)

‘A play a day’ was the target we set ourselves at the outset, and so it turned out. The process nearly killed everyone. But this was something I was particularly proud of.” (p. 104)

He says the first TV drama was Marigold (featuring John Bailey), and the first whole play - rather than just an excerpt - was Priestly's When We Were Married in 1938. The regular Sunday-Night Play began that same year and was still running in 1963. The first weekly drama was Ann and Harold.  

There's a little on what makes a good drama, such as this observation from GK Chesterton in a letter he wrote to Madden:

“Those who despise detective stories are so stupid they do no even see what is wrong with detective stories. There is no reason why a shocker should not deal with the highest spiritual problem; where it will always, perhaps, fall short of the first rank is in this, that in a great story the characters make the story: in a detective story the story makes the characters. It is made up backwards. Many police novels are quite good, the characters real, the conversation convincing. But the characters have been created to do something, preferably something atrocious, and the convincing talk leads up up to a conviction.” (p. 63)

By the time war started - and the television service stopped - there were 30,000 sets in viewers' homes (p. 117). During the war, Madden returned to radio, broadcasting to the world from the underground Criterion Theatre in Piccadilly, where he was also air-raid warden. There, Madden discovered 10 year-old Petula Clark (p. 158), discovered and named the Beverley Sisters (p. 232) and was the last civilian to see Glenn Miller alive (p. 236). (In other firsts, he was also responsible for the first signature tune used on radio, which he devised as a way to hide the cough with which an unnamed presenter always started (p. 57)).

There are plenty of insights about wartime London: the social mix of people in the shelters, the poor laying down beside those in fur coats (p. 145); the stables near the Windmill Theatre in the centre of town, with horses that needed rescuing during a raid (p. 169); the incongruous image of Vera Lynn bedding down on a mattress in the makeshift underground studio for a nap ahead of a 2am broadcast (p. 155).

Madden tells his own "bomb story", of being caught in a raid in south London where, with hat, umbrella and gas mask, he hurled himself over a garden fence and thus survived. But, he says, everyone had such bomb stories - and he collected them from people he worked with and shares them here. It's a remarkable collection of first-hand accounts of strange, scary moments - but it occurs to me that people looking up family history or doing other research wouldn't think to check a memoir of TV production, which doesn't have an index. So here is a list of those people whose bomb stories Madden gives from p. 165 onwards, in the hope this blog post then turns up in searches:

Margaret McGrath (showgirl and actress); Charmian Innes (comedienne); Joan Jay (soubrette and dancer); Valerie Tandy (dancer and comedienne); Bob Lecardo (acrobat); Frank Dei (organist); Alan Bixter (pianist and accompanist); Sandy Rowan (comedian); Nick Tanner and Norah Crawford (veterans of wartime entertainment touring with BEF); Fred Wildon (“old-timer” and concert party manager); Gaby Rogers (composer, arranger, pianist); Vicki Powell (actress, dancer, singer); Penniston Miles (musician); Jack May (comedian); Nat Allen (band leader, accordion and bass player); Mary Barlow (revue singer); Jack Warman (character comedian).

After the war, Madden returned to TV. He had a short stint on children's television, working at the newly acquired Lime Grove Studios, and was then from 1951 Assistant to the Controller of Television Programmes - he describes this as being "kicked upstairs". He was still talent spotting: it's not listed here, but I know from other research that he got Delphi Lawrence her first work in TV. His memoir says he was the first person to suggest that TV should cover sport, leading to Sportsview (p. 283); he was also directly involved in the televising of an excerpt from Look Back in Anger, despite the trepidation of the play's writer and director, and this was just one of a number of stage productions that were "made" by TV. For more on this, see John Wyver's piece on Cecil Madden's memoir for Screen Plays - Theatre Plays on British Television.

Sadly, Madden's account rather tails off towards the end. There's alas no assessment of his achievements or the changes in television - or culture more generally - which I'd hoped for. There's little on the transformation in the medium brought by ITV (though it does get a mention), or in BBC drama under Sydney Newman (who is not mentioned at all). I'd hoped for something on how the old guard responded to or felt about these seismic shifts. Oh well.

Madden left the BBC in late 1964 at the same time as controller Stuart Hood. An obituary included as a coda says he then set up BAFTA. A postscript from Madden's daughter adds that the Beverley Sisters continued to visit him in old age - and that they always dressed the same.

Few Eggs and No Oranges: The Diaries of Vere Hodgson 1940-45

Wartime Britain, which I read last month, referred to these diaries by Winifred Vere Hodgson (1901-79), who lived at 56 Ladbroke Road when war broke out and then moved to a flat at no. 79. This was a few streets from David Whitaker, the Doctor Who writer and story editor whose life I'm currently researching. In September 1939, 11 year-old David was living with his parents and older brother in the lower part of 9 St Ann’s Villas. I hoped these diaries might give me a better sense of his wartime experience.

They certainly do that. Hodgson wrote her diaries to share with family abroad, letting them know about life in London during the Blitz and the welfare of various relatives there and in Birmingham, too. We get to know these people - and feel the loss of those who die. Hodgson also updates us on various neighbours and friends, and keeps up with the latest news. She's got a keen eye for telling detail - about the war, about London, about extraordinary times.

Two things really help in her perspective. First, there's her job at the Sanctuary at 3 Lansdowne Road, run by the spiritualist Greater World Association Trust and doing a lot of good work during the war sorting out money, food and clothing for anyone in need. That gives Hodgson an insider's view of just how much damage was done by the bombing, the lives lived among burned-out buildings, the character of endurance. She skips days in her diary as she throws herself into the annual fund-raising fair, and despite the privations of war there's a sense of the community coming together and helping out. Every year through the war, there's more damage, more rationing, more difficulty - and yet they raise more money each time.

Secondly, Hodgson previously worked as a teacher in Italy - she once shook hands with Mussolini, she tells us, whose daughter was a pupil. As she follows news of allied troops ascending through Italy, she peppers her diary with first-hand knowledge: the landforms, tunnels, buildings and art being fought over, what it all actually signifies.

For my purposes, there's the sense of the nightly lottery as London is attacked. I spent a lot of time checking her reports of bomb damage against a street map, trying to judge - just as she does in her diary - how bad things really are, how close the bombs are to her home, how much danger she might be in. There's a good sense, too, of the over-fatigue that resulted from night after night of Blitz, as described as well by Judith Kerr in Out of the Hitler Time.

There's lots on what ordinary people did to prepare for the Blitz: on 1 July 1940, Hodgson had respirator drill at Kensington Town Hall; the next day she reported on shelters being built all over Kensington and the new orders that people were to continue in their work until they heard gunfire. On 11 July, she had a practice session in a chamber of tear gas and sat through lectures on gas. Four days later, there was a trip to the Gas Cleansing Station at Earls Court, then on the 18th she took a course on Fire-Fighting at the Convent of the Assumption on Kensington Square, in which she had to climb and drop from a 10-foot wall.

Then there's the things she finds surprising: on 14 August 1940, she was amused to hear people took shelter under dining tables in their homes (something she would herself do later). Or, after a night out to a play in Birmingham on 7 September 1941:

“In London theatre-going at night can be a nightmare in these difficult days." (p. 208)

That was not due to the bombs, but the lack of street lighting and buses to get safety home. A year later, on 13 September 1942, she was struck that,

“Nobody dresses in London these days, even at the smartest places.” (p. 315)

On 7 December 1944, she found it remarkable that,

“A [horse-drawn] Hansom cab is seen periodically doing duty round here. I gaze at it with great satisfaction. I never rode in one. They had just gone out when I had money to do such things. We also have to taxis..." (p. 544)

Yet working animals were a familiar sight to her. On 9 July 1944, she says - to show how life was going on as normal - that,

“Our milkman comes round as usual with his white pony.” (p. 494)

And I'm struck by her reference to Shepherds Bush, a shortish walk from where she lived, as,

 “the next village to Notting Hill” (p. 565).

That sense is there in her local shops, all within walking distance: the Polish greengrocer who lets her have an extra orange, the cobbler, the cat-meat seller, the Mercury cafe where she sometimes has lunch alongside ballerinas from the Rambert school at the adjacent theatre. 

As with Wartime Britain, several things here chime with the current pandemic. For example, on 5 July 1944, Hodgson is,

“Very sorry for children who have to take exams in Air Raid Shelters, not able to concentrate after a bad night.” (p. 491)

But I was looking specifically for anything that might echo in David Whitaker's later work on Doctor Who. A few things resonate. On 7 August 1940, Hodgson remarked on the great many refugees now in Kensington, because of "everybody leaving Gibraltar and Malta" (p. 28), and there are later references to  refugees - these ones and more - grubbing along and needing support. That put me in mind of the Doctor and Susan as we first meet them, and also the Thals in the first Dalek story. Then, on 18 April 1943 Hodgson reported that the previous evening, 

“Marie and I went to Petrified Forest. Setting in Arizona. All very exciting." (p. 379)

On 20 August 1944, she remarked of the new plague of V1 pilotless planes that,

“These Robots have changed everything. The Germans can, in the future, in complete secrecy underground, prepare in the years to come, more of such things and launch them on an unprepared world. … Men will perish under the machines that he has made.” (p. 517)

But when a few weeks later there was a lull in the bombing, it was more unnerving, as she reported on 3 September:

“Here we are at with the end in sight - and we are intact. The silence at the moment is / uncanny. After listening to sirens on and off all day and all night for ten weeks, it seems strange without them. Have we finished with them?” (pp. 526-527)

London is eerily silent at the beginning of The Dalek Invasion of Earth... Maybe Whitaker (and Terry Nation) didn't draw on this kind of stuff consciously - or at all - but it's made me think about the tone of the first two Dalek stories, and how much they're grounded in something that feels real, at least compared to third story The Chase, which Whitaker wasn't involved in. I need to think a bit more on this but that's where I am at the moment.

Oh, and then there's this from 30 November 1940 where, as Hodgson and her colleagues at the Sanctuary are busy with their charitable work, they compare notes on the previous night's Blitz: 

“From Mrs Whittaker we heard that part of the roof of the Daily Telegraph had gone. Everything was so hot no one could go near.” (p. 100)

That might just be David's mother.

Wartime Britain 1939-1945, by Juliet Gardiner

This enormous volume - 591 pages before the exhaustive acknowledgements, notes, bibliography and index - is a detailed history of the Second World War from the perspective of those at home. It's an extraordinary read, full of horrifying detail, and very useful for something I'm currently working on.

What really struck a chord was some people's response to the things they could do to protect themselves and others. 

“In November 1939, the Daily Mail had asked its readers, ‘What part of the war do you mind most?’ … ‘Women in Uniform’ came first and ‘Blackout’ second.” (p. 45)

Gardiner quotes from JBS Haldane's 1938 book ARP (ie air-raid precautions), concerned that his unemployed neighbour will not be able to afford the paints and blinds required for blackout. 

“As a result he will probably show a light, and my life, not to mention the King’s, will be endangered.” (p. 47)

Another neighbour, said Haldane, 

“can afford paint and blinds but she is an absolute pacifist, who says that she will have nothing to do with war … She says she is going to keep her lights on, and if a bomb hits her house she will be well out of a wicked world. As I have never yet seen a bomb hit the mark at which it is aimed, I think it is much more likely that a bomb aimed at her skylight will hit me … If lights should be covered, as I think they should, then this should be made a matter of law, like the lighting regulations for vehicles.” (p. 48)

“Which it was,” adds Gardiner. But there are still examples of people ignoring the rules, or feeling they should be exempt, or blacking out parts of their houses - like not having your nose inside your mask. There's even a doctor concerned about the effect on people's mental health.

The Blitz itself makes for harrowing reading. The scale of devastation would be hard to grasp if Gardiner did not thread the narrative with awful detail - names, what they were doing as the bomb landed, the bits of body never identified. Each school and hospital is like a knife being twisted. There's so much tragedy and suffering, it's easy to see why some people felt conflicted about celebrating the end of the war when it eventually came.

Gardiner is good at explaining how, after years of war and bombardment, the V-1 and V-2 managed to feel different:

“many people found them a particularly scary form of warfare, an unreckonable mechanical monster impervious to human interference, a science-fiction horror. George Orwell [in Tribune, 30 June 1944] noticed the widespread complaint that the V-1s ‘“seem so unnatural” (a bomb dropped by a live airman is quite natural p. 551 apparently.’)” (p. 550)

And there's more contemporary resonance in the people who fled Liverpool and Bristol once the bombing started in earnest there.

"it was largely in response to the unwillingness of many provincial towns and cities to learn the lessons of London and prepare for the homeless and the disorientated, as well as the dead and the injured. ‘It seems that each city and town had to experience a major attack before making adequate plans for the relief of the community.’ [this cited from Richard M Titmuss, History of the Second World War: Problems of Social Policy, p. 307.] In this context trekking can be seen neither as a tendency to scuttle nor as mindless flight, but as a largely rational response to a desperate situation.” (p. 366)

There's another modern parallel in the realisation, in late 1944, that the war wouldn't be over by Christmas and there was yet more to be endured - and yet more lives to be lost. The book concludes with the end of the war, and a sense that the British people had voted for a better, more equal future, the Labour Government able to build on the nationalised systems imposed during war. But there are hints of the difficulties to follow: the rise in divorce rates (hitting a peak in 1947), the problems of living standards when about half the housing stock in London and much in cities elsewhere had been damaged, the economic hit to the country as a whole, the scale of those physically and/or mentally injured...  

Getting through the crisis is one thing; dealing with its long-term impact is another story...

HV Morton's London

Having read Michael Bartholomew's biography of HV Morton, I'm now on to Morton himself. HV Morton's London is a collection of three earlier books, The Heart of London (1925), The Spell of London and The Nights of London (both 1926), first published together in 1940. Mine is an 18th edition from 1949.

Basically, they're vignettes from all round the capital, edited versions of Morton's column for the Daily Express. He visits Big Ben, goes back stage at the Old Vic, sits on more than one night-time riverboat on the look-out for suicides. There are flea markets and dances, a tour of the Royal Mint, a boxing match, a gambling den and much more. At one point, he's in the tower at Croydon Aerodrome, gazing across the Surrey fields to the twin towers of Crystal Palace - and somewhere in between, my old home.

At his best, Morton has access and insight so that it feels authoritative. Quite often, though, he gives full rein to whimsy, allowing himself to imagine the conversations - the whole lives - of people he merely glimpsed in passing, many of them salt-of-the-earth Londoners he names "Alf". More than once I was left thinking, 'But how could you know this?' or 'How could you have overheard?', so it lacks the authenticity of my friend Miranda Keeling's observations of real life.

At worst, Morton is misogynist and racist. His wandering eye falls, for example, on a pretty girl, but he assumes she is Jewish and will therefore soon grow fat. Another time, he describes the Chinese community in Limehouse as monkeys and is baffled by evidence that the men might be good to their wives. They allow him into their homes and bars; the threat of violence is all imposed by Morton. All of this stated quite openly, and shared in the popular press. It's not merely shocking; it is not the London I know.

Morton's is a strikingly dirty and polluted London, full of junk markets and rag fairs, worthless rubbish even sold from the windowsills and steps of the crumbling tenements. Almost every description of a landmark is shrouded in mist. One particular smog comprises,

“Many flavours. At Marble Arch I meet a delicate after-taste like melon; at Ludgate Hill I taste coke. … Everywhere the fog grips the throat and sets the eye watering. It puts out clammy fingers that touch the ears and give the hands a ghostly grip.” (p. 25)

The landmarks, too, are sooty. Viewed from the clock tower that houses Big Ben, he spies Nelson's column,

"stood up jet black like a cairn above the mist of a mountain top" (p. 160).

This juxtaposition of the modern and the mythic is a favourite trick of Morton's - wowed by a room in which Dickens once stood, or sounds that might have been familiar to Romans. It can get a little repetitive and yet his interest in the ancients can often provoke his most evocative writing, such as this from a visit to Cleopatra's Needle:

"Did you know that beneath the famous stone is buried a kind of Victorian Tutankamun’s treasure, placed there to give some man of the future an idea of us and our times? Did you realise that the London municipal authorities could do anything so touching? … In 1878 sealed jars were placed under the obelisk containing a man’s lounge suit, the complete dress and vanities of a woman of fashion, illustrated papers, Bibles in many languages children’s toys, a razor, cigars, photographs of the most beautiful women of Victorian England, and a complete set of coinage from a farthing to five pounds. So the most ancient monument in London stands guard over this modernity, rather like an experienced old hen, waiting for Time to hatch it.” (p. 78)

Again, he can't resist playing this against aching modernity:

"I stood there with the tramcars speeding past and the criss-cross traffic," (p. 79). 

But it's a spot I know very well, and those tramcars are from a lost world.

In describing how omnibuses have changed within his own memory, Morton reveals what else is different (as well as his usual predilection for women's underthings):

“In 1925, when this was written, London omnibuses had open roofs, and the seats were protected by black tarpaulin covers which travellers could adjust in wet weather. Nowadays the London omnibus is an enclosed juggernaut and wet seats are things of the primitive past. Also, the Strand has changed since 1925. It has been widened in parts, and it is no longer an exclusively masculine street. Silk stockings are probably now more in evidence there than pith helmets and spine pads [from the imperial outfitters].” (p. 34n)

This throng of Londoners heading out into the Empire he finds straightforwardly heroic, but anything of that world coming into London is straightforwardly threatening. In Morton's view, all foreigners are at best suspect; often they're also monstrous. Then, while out on the Thames at 2 am, he spots, “a queer fleet at anchor” in Limehouse: 

“‘The smallpox boats,’ said the sergeant [giving him this tour]. ‘They are always fitted up ready to take patients [arriving in ships] down to the isolation hospital in the event of any outbreak.’” (p. 400)

It's not as if the capital is otherwise a bastion of good health. There are no gyms or joggers in this London. Morton's description of conditions in the few free hospitals in a time pre-NHS is gruelling, for all he admires the good-hearted people running such charity. He also visits St Martin's by Trafalgar Square, where the homeless men offered shelter are divided into three types: ex-prisoners with a grudge against the world; those who won't work; and,

"those who went to the war as boys and came back men with boys’ minds" (pp. 42-43).

There's pity for these wounded men, but no sense that they are owed something more by a grateful nation. That contrasts with the dead of the same conflict. Morton passes the six year-old Cenotaph, that "mass of national emotion frozen in stone", where,

"A parcels delivery boy riding a tricycle van takes off his worn cap [as he passes]. An omnibus goes by. The men lift their hats. Men passing with papers and documents under their arms, attache and despatch cases in their hands—and the business of life—bare their heads as they hurry by." (p. 19)

That's all the more poignant given when this edition was compiled. Morton's first introduction to these three books was written in August 1940, addressing fellow imperilled Londoners. His theme is the pride and interest the Second World War has ignited in their city as it faces devastation.

"Men who in former years hardly knew where their town hall was to be found, now sleep there regularly, and have become familiar with many a municipal mystery. Men and women, to whom a fire hydrant was once a technical term which cropped up occasionally in the newspapers, can now draw you an accurate map of the water-supply of their district. Countless diligent wardens know by heart streets which, until recently were an untracked wilderness to them, although they lived just round the corner." (p. vii)

A second introduction, written in February 1941, is for American readers. London, he informs them gravely,

“has experienced the mass raid; the single nuisance raider; the high explosive raid; the fire raid; the mixed h.e. and fire raid; the raid directed against docks and warehouses; and the raid directed, apparently, against Wren churches and hospitals.”

But there are broadly two types of air raid: day and night.

“When London is raided by day, people no longer rush into shelters and cellars at the first note of the siren, as they used to when they were new to bombing.” (p. viii)

Instead, Londoners look around for signs of alarm or haste, but the traffic otherwise continues. Yet, hyper-vigilant to all sounds and senses, they will suddenly scatter. Night raids are another matter - altogether more tense and exhausting, even before the bombs come.

"As darkness approaches people become restless and begin to think of getting home before the black-out. Shops and businesses close early in anticipation of ‘siren time.’ Dusk falls, and the streets empty. It is not a pleasant experience to stand, say, in Bond Street, the pavements deserted except for anxious groups round the bus stops, every taxi-cab either occupied or else driven by a man who cannot take you back where you wish to go because he is himself trying to race the black-out to the other side of London." (p. ix) 

Despite the hardships, Londoners have met hardship - says Morton - with their usual stoicism and good cheer. He tells us about ordinary City clerks who've been transformed into lions, the "man of books" who became a man of action. There's a mug of tea with the wardens, sharing tales of their modest heroism night after night. It's all good propaganda, these honest, good people remaining quietly dignified despite the ravages of war.

"The task of such civilians in war is infinitely more difficult than that of the soldier, who is a single-minded man trained to fight with others and untrammelled by any struggle to maintain the normalities. … Most gallant, and tragic, are those others who have been bombed out of flats and houses, some of them losing everything they possessed. The ability to ‘double-up’ with relatives and friends in times of misfortune, formerly an exclusive habit of the poorest classes, is now a general tendency. Admiration for those who have no homes, who spend their nights in other people’s shelters, and turn up at their offices in the morning to carry on as usual, is beyond expression.” (p. xix)

But one line is haunting. It's surely meant to reassure, yet in a book that is testimony to all that stands to be lost.

"The result [of the Blitz] is a grim city, a shabby city, a scarred city, but not a devastated city, except round and about Guildhall, where several famous streets have been burned to the ground.” (p. x)

In Search of HV Morton, by Michael Bartholomew

This is a very good biography of a very successful writer and pretty awful human being. Michael Bartholomew brilliantly teases out the real man from the literary persona, effectively providing biographies of two people: the real Harry Morton and the invented HV.

Morton's most famous work is In Search of England (1927), in which he escaped London for excursions in a bull-nosed Morris. Bartholomew makes the point that the title suggests this England had become hidden or lost and so had to be sought through its countryside and history. He goes on that this struck a chord in a nation still reeling from war. He also points out that the final destination in the book, a village in which Morton finds this England, is almost certainly a fiction. As he says, there's a subtle but important difference between a myth and a lie... I'll return to this when I reread In Search of England.

Bartholomew is aided by a wealth of evidence which any researcher would envy (me included). HV Morton published more than 40 books, almost all of them non-fiction, often recounting his adventures with wry, self-deprecating insight. Many of the books were collections of reports for newspapers (and, later in life, features for glossy magazines), with telling differences between what was originally printed and what was then revised. That would be quite enough, but Bartholomew also had access to a 200-page unpublished autobiography written in Morton's last years and a collection of diaries and correspondence ranging right back to his earliest days. This means the biographer is able to compare a diary account of a formative experience with how Morton chose to remember it a half-century later, and then contrast this with the version put in print. There is even a dated list of Morton's sexual conquests, totalling some 100 different individuals, with "wh" marking those that he paid for, which Bartholomew matches against the other details in his timeline.

There are plenty of gaps in the record - missing diaries, absences in what Morton tells us - and Bartholomew is good at deducing connections, motives, feelings. He also tells us when it's his own speculation by adding "I think", as well as saying when nothing firm can be said. Literary biographies can all too often be an annotated list of published works, reductively pinning down real events that inspired the writer, as if writing is little more than copy and paste. Bartholomew achieves something very different - and better. Morton is more than simply a witness: we come to understand the creative act, even in non-fiction. There is careful research beforehand, skilled observation at the time, a period of reflection to put things in perspective, and then craft in the actual process writing - from moulding loose events into a story, to the striking turns of phrase, the well-chosen idiom or analogy, and the deftly worked light humour.

A good example of this use of different sources is what Bartholomew can tell us about a particular photograph, chosen for the back of the dust jacket:

The photograph is also included in the plate section of the book, with the following caption:

"The opening of Tutankhamun's tomb in 1923 -- Morton's first big break as a reporter. The photograph was taken by the Times photographer. Under armed escort, treasures are being removed from the tomb. The figure leading the way is the official archaeologist, Howard Carter. The figure on the extreme right, furtively shadowing the party and taking surreptitious photographs, is Morton. When the photograph was published in The Times, Morton, the interloper, was cropped from the image."

The next plate is the front page of the Daily Express for 17 February 1923, with Morton's coverage - "Pharaoh's Coffin Found" - the first headline. Bartholomew follows the thread of Morton's early passion for archaeology and friendship with antiquarian GF Lawrence, how this helped him get the Tutankhamun gig (the Express determined not to let the Times have a monopoly on the story), the effect this trip had on Morton and how it all tied in to the historical perspectives in his later books.

It's interesting to read that, while waiting to be sent out to fight in the war, Morton was stationed in Colchester and involved in some excavations of Roman finds there. This was also true of the archaeologist Mortimer Wheeler. There's no mention of Wheeler in this book, or of Morton in Jacquetta Hawkes' biography of Wheeler, and perhaps they never overlapped in life. Yet it strikes me that these womanising rogues had a lot in common, and Wheeler had a similar way of making direct connections to the ancient past. During excavation of Maiden Castle in the 1930s, Wheeler's brilliant deductions about the stages of a Roman siege were informed by his own battlefield experience in the war. Yet I wonder if the two men would have been at cross purposes: Wheeler using modern experience to unpick the truth of history, Morton looking to the past to provide a modern fiction... I'll keep an eye out for references to Wheeler in Morton's books.

Bartholomew has an eye for wry humour, such as when he details a break-in at the office young Morton was renting with a friend so that Morton could write a novel and the friend a play. 

"The project petered out, before Morton had completed chapter one, when a burglar broke in and made off with the kettle, tea and biscuits, but disdained to steal the manuscripts." (p. 82)

We also quickly get a sense of Morton's character, his presence in any room. While I envy Bartholomew his wealth of evidence, I wonder how much he enjoyed the time spent with his subject. Morton's insecurities and womanising are exhausting from the off but the racism creeps up on the reader. True, his travel writing is full of caricatures - there are often salt-of-the-earth yokels or idiot Americans for his narrator to converse with - but Bartholomew is good at showing how often Morton plays against easy stereotypes and presents a more complex view... at least in his published writing. In private, he's often shockingly racist, continually sympathising with the Nazis during the war and then emigrating to South Africa just as the apartheid regime came in.

Bartholomew confronts this head on and at some length: 

"For him to to have persisted with a rosy view of fascism, long after others had seen the light, indicates more than naivety." (p. 172)

He also points out the contradictions in Morton's prejudice: this man who made his name celebrating England actually despised much of its people and ways of doing things. Morton sympathised with and admired the Nazis and assumed they'd win the war, and yet was also a dedicated leader of a Home Guard unit, expecting to die with his men in token, doomed resistance to the inevitable invasion.

There are other ironies, such as - "improbably", as Bartholomew says - when the Labour Party published a pamphlet by Morton, What I Saw in the Slums (1933), with a foreword by party leader George Lansbury. Bartholomew makes the case that George Orwell surely read this ahead of his own, better known, The Road to Wigan Pier (1937), and even argues that of the two, Morton is the more sensitive and egalitarian.

"Morton's own descriptions of women are just as powerful [as Orwell's], and are less patronising. He writes, for example, of women who strive to put a symbolic barrier between their home and the even more squalid street beyond, by whitening the doorstep: 'Thousands of horrid doorsteps, worn as thin as wafers in the centre, are whitened or raddled. Every time a door opens you see a woman cleaning something.' What I Saw in the Slums is an impressive little book." (p. 147)

Bartholomew is no less impressive. There's lots that's uncomfortable in Morton's life - or parallel lives - but the story is well told. Note to self: this is how it's done.

The Second World War, by Dominic Sandbrook

I raced through this enthralling, vivid account of the Second World War, part of a new series written by Dominic Sandbrook for his eight year-old son. There's a lot of pluck and excitement, largely told from the perspectives of individual eye witnesses, ordinary soldiers and civilians as well as the brass. There are accounts from children caught up in the action, from women and ethnic minorities - the war not exclusively Boy's Own.

I should declare an interest: I know Dominic a bit, have made three short documentaries with him for the Doctor Who DVDs, and his history-for-adults book White Heat was extremely useful when I wrote my book on The Evil of the Daleks and my audio play The Home Guard.

Much of his account of the war is familiar - key battles, famous speeches, the real people who inspired the movies. What really struck me is how Dominic conveys the "world" bit of the war, cutting from events in Europe to Khalkin Gol or Singapore, or how the war in the deserts of Africa differed from experience in Burma. The Nazi attack on Stalingrad, for example, feels very different in the context of everything else going on at the same time.

It's all told in a breathlessly engaging, slightly tabloid tone, all short paragraphs and direct quotations. Yet this is skilfully  peppered with nuance and an eye for historical irony. Here's Hitler touring the newly conquered Paris, having posed for photographs in front of the landmarks:

"At the chapel of Les Invalides, Hitler stood for a long time before the tomb of Napoleon, another ordinary soldier who had risen to become an all-conquering emperor. Then, without a word, he turned away.

For the man who had painted postcards [in Vienna], this bright morning in August 1940 was the greatest moment of his life. Twenty years earlier he had been a nobody. Now he was the master of Europe.

After just three hours, the trip was over. It was only 9 o'clock in the morning, but Hitler had seen all he wanted.

As they drove back the airfield, he said quietly: 'It was the dream of my life to be permitted to see Paris. I cannot say how happy I am to have that dream fulfilled today.'

At that moment, Speer glimpsed the lonely, pathetic human being behind the mask of cruelty, and felt 'something like pity' for him.

Then the mask slipped back into place, and Hitler's familiar stern expression returned. And a few minutes later, as silently as he had arrived, the dictator was gone. He never came back." (p. 128)

There are a few notable absences - such as nothing on the V2. But my only objection is the lack of an index and that Sandbrook doesn't cite his sources - "I don't have room," he tells us in his note on page 353. I find this frustrating with the Horrible Histories books too: that you can't check the claims made with such authority. "History is sources," as a former tutor used to tell us sternly. (And, ahem, it helps when I inevitably pinch bits of this to use in other things...)

V for Victory, by Lissa Evans

Entirely selfishly, I bought this for the Dr's birthday so that I could read it. It's the third in a trilogy, after Crooked Heart and its prequel, Old Baggage - both of which I adored. 

We pick up with young Noel Bostock and his adopted aunt Vee - though she's neither of those things officially. Now going under the name Mrs Margery Owens, she and Noel bugger on through the chaos of north London at the fag-end of the Second World War. At any moment of any day, a V2 might fall on them and it's exhausting - not least because the chores and home-schooling must still somehow be done. Still, there's romance kindling in the air for each of them. And then they both stumble into people who know something of their past - and might expose their secrets...

As before, there's a wealth of telling historical detail worked deftly into the breezy tale, which I knocked through in a matter of days. It's so teeming with life and emotion. We really feel the outrage of Winnie the Warden discovering that her harrowing real-life experience has been filletted by her sister for a sexy novel. Or there's Noel's infatuation with a girl who's moved away:

"Noel recognized Genevieve Lumb's neat but forceful handwriting. Even the thought that she had licked the envelope was quite physically stirring." (p. 53).

The remarkable thing is that these extraordinary, unprecedented times feel utterly real. But it's also a delight to spend time in the company of good people just trying to get by, despite all the crap going on. 

I was especially moved by the ending, where Vee and Noel face some tricky emotional stuff relating to his biological parents. It's so perfectly done, so impossible to describe here without spoiling. At one point, Vee wonders what might have happened if she'd not made a connection with this awkward teen at a critical moment, how nearly he might have been lost. But we leave them happy, the war over and a new world on the horizon. After all the devastation, what survives is the love. 

Tintin, by Herge

I’m struggling a bit with prose for grown-ups, so over the last month worked my way through The Adventures of Tintin, an eight-volume box-set of the boy reporter’s collected scrapes, including the early, rough Tintin in the Land of the Soviets and the unfinished Tintin and the Alph-Art but not including the especially racist and colonialist Tintin in the Congo from which even Herge distanced himself. (The book is available to buy separately.)

My parents still have a bunch of Tintin books that I shared with my brothers. In my head they were always more my younger brother’s but I’m surprised now to discover how few of them I’d read. Running gags, such as the telephone being put through to the butcher, or insurance salesman Jolyon Wagg outstaying his welcome, seemed completely new.

I was also surprised by how funny so much of it is, having thought of Tintin as the po-faced cousin of Asterix, to whom I was devoted. But there’s loads of often very funny slapstick here, whole sequences of panels passing without a word. I wonder what it owes to the comedy of silent film.

The pace is also striking. Written as a newspaper strip but reformatted for book versions, each story licks along at great speed, full of incident and twists. There are plenty of cliffhangers - though, as with so many adventure serials, many of them are undone by outrageous good fortune or sleight of hand on the part of the author. Still, it’s exciting and fun.

And it looks beautiful. Herge's clean line style with no shading and flat colours means that strips that are nearly 100 years old reproduce nicely, and look fantastic on shiny, good quality paper. The style suggests cartoon-faced people in an otherwise convincingly realised world - it's both daft comic strip and gritty realism at the same time. 

But also striking is the racist stuff. Even without Tintin in the Congo, there are plenty of crude racial and cultural stereotypes, perhaps the most jaw-dropping in The Broken Ear when Tintin blacks up. 

Having nominally bought the collection for my nine year-old son, I started to have second thoughts - and  I’m not the only one. On 10 June, just as I was reading this, Amol Rajan was on BBC News to talk about Gone With the Wind being removed from Netflix - just a day after he’d been on to talk about the more recent comedy Little Britain coming down from iPlayer.

“That is fraught with difficulty. Where does it stop? I'm reading Tintin with my son at the moment and an exhibition of tolerance it certainly is not. It reads like one long parade of racial cliches.” (Tweet by Amol Rajan, 10 June 2020)

He’s right, and there’s plenty here that made me uncomfortable - not least in those books that I'd read before without noticing this aspect. How strange, too, for a series of adventures for children to feature opium dens, slavery, alcoholism, kidnap and murder. I think Herge’s clean lines and flat colours, plus the slapstick stuff, are deceptive: Tintin’s a noble character in a world that is corrupt and cruel and dangerous.

Without wishing to excuse or downplay the racist depictions here, there’s clearly also an attempt to offer more nuance and counterpoint, such as in this sequence from The Blue Lotus where Tintin and his friend Chang try to dispel a few cultural myths.

I wonder how much of this is later revisionism. There’s clearly some of that going on. The jump in style between Tintin in the Land of the Soviets and the next book, Tintin in America, is so marked because the latter was redrawn. There’s evidence, too, that the revised books weren’t published in their original order. In Cigars of the Pharaohs, in volume 2 of this collection, Tintin is recognised because someone has a copy of Destination Moon, which is in volume 6.

(This also suggests that Tintin is a celebrity because of his adventures, and the accounts of them exist in his own world as colourful comic books, too.)

My guess is that this moment in King Ottaker’s Sceptre is also a later edit, perhaps after someone wrote in:

Anyway. There’s a notable shift in gear with The Crab With the Golden Claws, which feels more mature and better plotted, and introduces us to the brilliant Captain Archibald Haddock, a drunk old sea-dog with a heart of gold. Part of what makes this story feel epic is where it breaks the newspaper-strip format, with full and half-page panels. When these happen out in the desert, the effect is like suddenly going widescreen, the adventures directed by David Lean. Again, it’s a story about drug-smuggling and there are racial caricatures, but Tintin solves the mystery using pluck and intelligence rather than good fortune.

After the disappointing The Shooting Star (an odd one about an alien island that produces huge mushrooms), we’re onto what’s surely the classic pairing - The Secret of the Unicorn and Red Rackham’s Treasure. I knew this one well and it’s a really good mystery, greatly helped by the focus on Captain Haddock. In Secret, we’re told the year is 1958 which came as a bit of a shock reading the adventures in sequence. Some 30 years have passed since Land of the Soviets and Tintin and his dog have not aged a day. It turns out that the original version of the strip was published between June 1942 and January 1943, so this is again another revision for the collected version. More than that, the stories have existed in a kind of timeless state. While Tintin in America mentioned Al Capone by name, we’ve had little sense of the real world. There has been no mention of the Second World War, the occupation of Tintin's native Belgium or that anything might have changed. I’ve since looked this up and see that The Crab With the Golden Claws was the first that Herge wrote while under occupation, and it’s tempting to try and see the gear-shift in the storytelling as some kind of response to real-world events. I’m not sure, but would like to know more.

Secret ends with Tintin directly addressing the reader to say the story is continued. Red Rackham’s Treasure begins with various suitors claiming to be descendants of the notorious pirate to get in on the treasure hunt. One of these, apparently as a sight gag, is a black man with very dark skin and big lips - so this kind of racist caricature isn’t only part of the early days of the series. On page 186 of my edition, we’re given the date Wednesday 23 July, suggesting this is still 1958.

There’s more continuity cock-up in The Seven Crystal Balls where we’re told of Bianca Castafiore that,

“she turns up in the oddest places: Syldavia, Borduria, the Red Sea… She seems to follows us around!” (p. 13)

But this is only the second time we’ve met her, and The Red Sea Sharks is in six books’ time. On the next page, General Alcazar seems to have met Haddock before, but Haddock wasn’t in that previous adventure at all. Land of Black Gold then features two more characters returning from previous books, and depends on a lot of coincidence. The books keep finding dramatic new locations round the world, but feel increasingly repetitive.

Then there’s something very different with Destination Moon and Explorers on the Moon. This strip originally began in 1950, well ahead of the Space Race, and it's fascinating that neither the US nor USSR are the first to get to the lunar surface. The rocket here is, apparently purposefully, reminiscent of the Nazi's V-2 rocket, even down to the distinctive red and white check. That surely makes Professor Calculus a comedy version of Von Braun. Again, there's no mention of Nazis, the shadow of occupation or the Cold War that followed - and was in the background as this story was written. Tintin is the first human to walk on the Moon but this extraordinary historic moment happens outside of time.

Herge took pains to get the details right, and it's fun to see a spacecraft built to accommodate the fact that its crew would all be knocked unconscious by G-force. The astronauts speculate about the formation of craters (we now know they're created by impacts), and land and drive huge, heavy vehicles on the lunar surface that would be far too massive and costly to get there. I was also taken by the science they actually conduct:

“EXTRACT FROM THE LOG BOOK BY PROFESSOR CALCULUS
4th June - 2150 hrs. (G.M.T.)
Wolff and I spent the day studying cosmic rays, and making astronomical observations. Our findings have been entered progressively in Special Record Books Nos. I and II. The Captain and Tintin have nearly finished assembling the [reconnaissance] tank.” (p. 98)

They set up an observatory and a theodolite, and drive round in an enormous tank. And then they discover a huge cave system. Surely, surely, the moment Tintin lets go his safety line and drops into the abyss to rescue Snowy is an influence on Doctor Who doing the same in the The Satan Pit (2006).

So much of this is jaw-dropping, remarkable and new. Really, my only problem with the Moon story is the villain, who returns from King Ottaker's Sceptre in a simple revenge plot, while a rival bunch of scientists eavesdrop on what Tintin is up to. It feels inconsequential.

Once they're back on Earth, Tintin is recognised as the first person to walk on the Moon in several of the books that follow. The Calculus Affair is set on Earth but feels no less huge given that Professor Calculus has - as well as all his technology for getting to the Moon - invented a super weapon. There's a chilling moment when we see a city destroyed, though it proves to be a model for demonstration purposes. Even so, this analogy for the Bomb is really effective. At one point, we also spot a book, "German Research in World War II", the first time the Tintin series references the conflict.

Tintin in Tibet (serialised 1958-59, book version 1960) seems quite similar to Nigel Kneale's Yeti stories - his TV play The Creature (1955) and the movie version The Abominable Snowman (1957) - and I wondered if Kneale had been an influence. Here, Tintin is on the trail of his friend Chang, last seen by us in The Blue Lotus - 15 books previously, and first published in the 1930s. Clearly, not so much time has passed for the two young friends. Tintin now seems to have a psychic ability, knowing innately that Chang is alive and in need of saving. Psychic powers seem permissible when he's among exotic natives.

The Castafiore Emerald is on a much smaller scale and set largely at Haddock's home, Marlinspike Hall. Haddock is not the most patient or progressive of people but is horrified by the treatment of a group of Travellers nearby and offers them land on which to camp. They are then suspected when Bianca Castafiore is robbed - playing into racial cliches. Yet Tintin maintains that the Travellers are innocent, even when evidence suggests otherwise. It's Herge trying to play against racist assumptions but there's no challenging of or comeuppance for the prejudiced authorities, and the Travellers leave without a word. The story's heart is in the right place but it's odd. The culprit turns out to be a bit of a joke, and there's little sense of the injustice done to the Travellers. In fact, a missing watch rather invites us to suspect them, too.

Flight 714 to Sydney involves the return of a whole load of friends and foes from previous books, and the plot reminded me a lot - and not in a good way - of Indiana Jones and the Kingdom of the Crystal Skull. There are more returning characters in Tintin and the Picaros, including characters not seen since all the way back in The Broken Ear. If that's not very original, the story is full of suspense - our heroes walking headlong into a gilded cage, and a great sequence at the end when they get caught up in a crowd as they race to save the Thompsons from execution.

Our last sight of Tintin is in a tiny panel at the top of the final page. We then hear him on the final row, a speech bubble snaking away to a departing aircraft. And that's it: a rather understated end to his adventures and a great shame. For all the repeated jokes and perils, and the myriad returning characters that are hard to keep track of, it's all still fun - and now and again really thrilling.

The collection ends with Herge's script and rough sketches for two-thirds of Tintin and Alph-Art. It's fascinating to see his process, and the difference between the roughest of rough sketches and the couple of examples or more carefully realised outlines. The story itself is quite different from what's gone before - involving a celebrity modern artist who makes sculptures based on the letters of the alphabet. But there's the usual runaround and chases, Tintin surviving various attempts to shoot him and blow him up. It's hard to judge without the last third. Would it have done something different?

I'm also amazed that it's not been completed officially, and that, like Asterix, there aren't new adventures of Tintin. For one thing, the movie suggested an openness to adaptation on the part of the licence-holders. There's surely a story in what Tintin did during the war years, or in what he's up to now.

But then I think part of Tintin's appeal, and the only possible response to the racism contained in the stories, is that he's a thing of the past.

Marvels, by Kurt Busiek and Alex Ross

After my post on Kingdom Come, a shrewd friend recommended me Alex Ross's earlier work, Marvels, originally published as a four-part mini-series in 1994. Written by Kurt Busiek, Marvels revisits apparently well-known events from Marvel Comics storylines, but from the perspective of an ordinary human. Phil Sheldon is an ambitious news photographer, torn between wanting to be an active participant in history and the debilitating sense that superheroes leave the rest of us impotent.

It's a brilliant idea, beautifully presented with high quality painted artwork on high quality paper. The endnotes show how cleverly the plot weaves between events established in decades-worth of comics - though much of this stuff was new to me, a sporadic comics reader. More telling, I thought, was the way the story acknowledges the contradictions in the history: Human Torch and Sub-Mariner battle as mortal enemies, then are friends, then battle Nazis together, then battle one another again when Sub-Mariner for some reason turns on humanity... I guess readers - fans - familiar with the original stories would know what occasioned these abrupt switches of loyalty and motive, but Sheldon's distance from the heroes means it is here left unexplained.

Sheldon never gets close to his marvels - there's no exclusive access as when Lois Lane interviews Superman, or when Peter Parker tells us what Spider-Man is really like. The closest encounter, when Sheldon is near Spider-man at the time of Gwen Stacy's death, is still at a remove. The result is that for all the years he studies them, the heroes remain out of reach, aloof, and Sheldon can offer little insight or perspective.

That is probably the point. At the human level, Sheldon can intercede, such as when he calls out the hypocrisy of the newspaper editor Jonah Jameson from the Spider-Man stories:

Or there's the moment he turns on the population of New York for their (and his own) fickleness, praying for salvation in times on crisis and then turning on the superheroes the moment danger has passed. What with everything at the moment, the following panel struck a chord:

That feels just as real and innovative for the medium as the extraordinary artwork, and I can understand the impact Marvels had on its original release. Stan Lee, no stranger to hyperbole, speaks in his foreword of it being, "a new plateau in the evolution of illustrated literature" - that last word a claim to respectability, high art, the canon.

Such pretensions are of their time. Marvels is solemn and portentous in that 1990s comics way. The engaging, playful wit of the Marvel movies is seriously lacking. It's an impressive, arresting accomplishment, but feels more DC than Marvel.

Crooked Heart, by Lissa Evans

Old Baggage, which I loved, is a prequel to this brilliant, comic novel about bad behaviour during the Second World War.

We begin a little after Old Baggage left off, with eccentric ex-Suffragette Mattie Simpkin living just off Hampstead Heath with the small boy, Noel Bostock, she's sort of not-quite adopted. But Mattie's memory and wits are fast escaping her, and when war breaks out Noel is sent to St Albans with other evacuees. There, he's taken on by Vera Sedge, who thinks he might help earn some money in the latest of her ill-fated scams. But nerdy, lonely, grieving Noel has ideas about how to improve their takings...

Evans conjures a dirty, drab and distinctly criminal Blitz, where even the wardens are on the take - I think the most distressing, haunting moment is a woman being led off to an asylum while her house is robbed by the men ostensibly helping her. Life is hard even before the bombs start falling, full of tragedy and meanness and indifference. But as we weave our way through Noel and Vee's adventures, and those of Vee's own mother and son, there's the promise of something to light up the dark - hope of connection, perhaps even a little joy.

That's the gift here: so much of what happens is miserable, so much of what's described is viscerally horrible. And yet the character, the humour, the compassion shine through and make every page a delight.

Home Guard cover

Here's Tom Webster's amazing cover for Doctor Who - The Home Guard, an audio adventure I wrote that's out in November. 

"It’s the middle of the Second World War and Ben Jackson has returned to visit his married friends Polly and Jamie in their quiet English village. But they can’t quite shake the feeling that something’s not right..."

The Once and Future King, by TH White

This extraordinary, sprawling retelling of the Arthurian legend (especially Malory's version) was written between 1936 and 1942, in the run-up to and during the Second World War. It directly refers to the Austrian agitator threatening Britain at the time it was written, and the black-shirts and Fascism at home. With Brexit looming, and portents of national catastrophe, its time has surely come again.

The version I read was first published in 1977, more than a decade after White's death. It comprises five novels, four of them published during his lifetime in forms he then revised. In fact, the last book ends with White addressing the myriad ways Arthur's story has been told through the ages, the warping of the legend to suit different ends.

It all begins with The Sword in the Stone, originally published in 1938. As in the Disney film from 1963, an awkward boy called Wart is schooled by the eccentric wizard Merlyn, whose lessons involve being transformed into various kinds of animal. This Merlyn is brilliantly conjured, at once wise and ridiculous. The delightful conceit is that he's living his life backwards through time, hence his knowledge of events to come - all a bit mixed up because he's so many centuries old.

Merlyn schools Wart - and sometimes his adopted brother Kay - and much of that education is based on a deep love of the natural world. Clues here and later in the book suggested Merlyn might once have been a school teacher in his youth, ie in the 20th century, and that suggests White modelled him on himself. The back of this edition has JK Rowling calling it "Harry's spiritual ancestor", and it's easy to see the influence of White's Merlyn on not just Albus Dumbledore but the whole wizarding world around him. There's the same silliness and sorrow, the incongruity of everyday objects and a long-suffering owl.

Surely the influence is wider than that. Gandalf - first seen in The Hobbit published in 1937 - seems to have been a simultaneous creation rather than one being inspired by the other. But the notable difference, I thought reading this, was how funny Merlyn is from the off. Gandalf is more grave and portentous. In the book of The Fellowship of the Ring (1954), he insists on making Hobbit children wait until Bilbo's birthday before he unleashes his fireworks. In the 2001 film version, the more amenable version played by Ian McKellen sets off a few early, and is clumsy and smokes too much weed. I wonder if the screen version owes something to White's Merlyn. Perhaps there's something of Merlyn in Catweazel, another "scientist" of the Middle-Ages. And surely he's there in what I consider the definitive Merlin, played by the great Nicol Williamson in Excalibur (1981). When he falls over in the river or whispers advice to a horse, there's the ghost of White.

Wart enjoys amiable enough adventures under Merlyn's tutelage. The mythic, English past is full of dangers - at one point, Wart is out in the woods and someone shoots at him with arrows for reasons that are never explained. I was also confused about when the novel is set, but towards the end of this first instalment, the king dies and we're given his dates: "Uther the Conqueror, 1066 to 1216" (p. 216). That over-writes the Houses of Normandy, Blois and Anjou - though White makes various references to some of those canonical kings, too. He clearly delights in none of it mattering, as he demonstrates when addressing the reader a few pages later:

"Perhaps, if you happen not to have lived in the Old England of the twelfth century, or whenever it was..." (p. 222). 

In other versions of Arthur's story, the death of the apparently heirless Uther leaves England without a king and, thus, facing crisis. White has already included other kings in his story, such as Wart's friend King Pellinore, but he also seems rather wary of this king business altogether.

"They [the people] were sick of the anarchy which had been their portion under Uther Pendragon: sick of overlords and feudal giants, of knights who did what they pleased, of racial discrimination, and of the rule of might as Right." (p. 230).

The idea seems to be that through his studies of - and living within - nature, Wart can be something different, even the animals recognising his majesty as King Arthur.

The Witch in the Wood, first published in 1939, follows the early struggles of the new King.

"Arthur was a young man, just on the theshold of life. He had fair hair and a stupid face, or at any rate there was a lack of cunning in it. It was an open face, with kind eyes and a reliable or faithful expression, as though he were a good learner who enjoyed being alive and did not believe in original sin. He had never been unjustly treated, for one thing, so he was kindly to other people." (p. 244).

That made me think of Peter Davison's Doctor Who, described by writer Terrance Dicks in his novelisations as having a "pleasant, open face." But it's odd to read this description of the guileless Arthur so soon after The Sword in the Stone because he was unjustly treated - and repeatedly - by his foster brother, Kay. Kay teases Arthur about his parentage, leaves him to deal with a wayward hawk that Kay himself unleashed, and lies about taking the sword from the stone himself.

More perintently, that disbelieve in original sin reads here like a noble quality in the boyish king. But  biographer Sylvia Warner Townsend explains in her afterword that White was inspired to write the story by a rereading of Mallory (on which he'd already earned a First Class with Distinction in English). As she says, "The note in which he summarized his findings may be his first step towards The Once and Future King:

'The whole Arthurian story is a regular greek doom, comparable to that of Oriestes.'" (p. 847) 

But the warring factions are more than Arthur being punished for the sins of his father. White speaks often of "racial discrimination", meaning differences between the English and the Celts (in Ireland and Scotland) - though he uses several different terms to describe the two groups. The chief antagonists are Arthur's wider family based in Orkney - his half sister, with whom he unwittingly has a son.

Merlyn has little time for such squabbling. When asked about the reasons for the present conflict, he lists a number of intermingling causes, and then makes his conclusion:

"The present revolt ... is a process of disintegration. They want to smash up what we may call the United Kingdom into a lot of piffling little kingdoms of their own. That is why their reason is not what you might call a good one." 

He then goes on:

"I never could stomach these nationalists ... The destiny of Man is to unite, not to divide. If you keep on dividing you end up as a collection of monkeys throwing nuts at each other out of spearate trees." (p. 256)

From this, he delivers a vehement anti-war lecture - and remember that Merlyn lives backwards, so was "young" in the future, ie at the time White was writing.

"When I was a young man ... there was a general idea that it was wrong to fight in wars of any sort. Quite a lot of people in those days declared that they would never fight for annything whatever." (p. 257)

He concludes that war can only be justified to curb other war-makers, a conscientious objector (as White was) accepting the moral argument for battling the Nazis - even if not part of that battle himself.

This discussion, for all it seems to allow White a soapbox, is about making Arthur think harder about the sort of king he will be, and the kind of regime he'll endeavour to instil. White is playful about the fact Merlyn is about to leave the story, destined to be imprisoned in Cornwall by the woman he loves. Yet Merlyn's last lesson is serious.

"You have become king of a domain in which the popular agitators hate each other for racial reasons, while the nobility fight each other for fun, and neither the racial maniac nor the overlord stops to consider the lot of the common soldier, who is the person that gets hurt. Unless you can make the world wag better than it does at present, King, your reign will be an endless series of petty battles, in which the aggressions will either be from spiteful reasons or from sporting ones, and in which the poor man will be the only one who dies." (p. 261)

Arthur comes to his own conclusion: that might is not right, and he must use his power - his privilege as king - to protect the oppressed. The code of chivalry, the equality represented by the famous Round Table, are all then a stand against Fascism. White makes that clear in the last pages of this book, referring directly to "an Austrian" who embodies all the things Arthur stands against. Merlyn, the wizard of old, pagan magic, even invokes Christianity to underline his point.

"Jesus did not turn the disciples into storm troopers, burn down the Temple of Jerusalem, and fix the blame on Pontius Pilate. On the contrary, he made it clear that the business of the philosophers was to make ideas available, and not to impose them on people." (p. 297)

It won't be easy. We already know Arthur and his knights will struggle to live up to the principles of Camelot. White is writing tragedy in the traditions of the ancient Greeks, but I was also struck by how much Arthur has set an impossible task. Gawaine, for example, is one of the better knights, the one to forge links between Arthur and the rabble-rousing lot in Orkney. But Gawaine is also impulsive, and violent.

"It was curious that when he was in one of these black passions he seemed to pass out of human life. In later days he even killed women, when he had been worked into such a state - though he regretted it bitterly afterwards." (p. 307)

Its an England of toxic masculinity, fragmenting on nationalist lines. For all the beauty of Arthur's noble ideas, the sense is of darkening skies.

First published in 1940, The Ill-Made Knight then switches perspective to follow the life of Sir Lancelot, from a child in awe of the new king to his most illustrious champion. Of course, the main part of this is the forbidden love between Lancelot and Arthur's queen, Guenever, which White really makes us feel. Just as it's easy to see Merlyn as a version of White, it's all too tempting to read into the moral quandary of this love affair something of White's own personal life. In her biography of White, Townsend Warner quotes from his diary, where White admits falling in love with a boy he refers to as "Zed": "All I can do is behave like a gentleman."

Whatever the case, there's perhaps more of a sense of the kind of teacher White was, or how his pupils responded to him, in the edication of Lancelot by his gruff uncle:

"Sometimes Uncle Dap was tantalized into beating him, but he bore that also. In those days they did." (p. 363).

There's no sense given of what Lancelot might have done to warrant these beatings - the feeling given is rather that Dip hit him anyway. And the implication is surely not that Lancelot grew up in a crueler period of history, that White and his contemporaries knew better than to beat children. Surely the implication is that the children of White's time no longer put up with it in silence.

There's more on the conflict between children and their elders later in the book when, shockingly, Arthur's half-sister is murdered by her own sons. They catch their old mum with a much younger man. White namechecks Freud elsewhere in the book, and doesn't shy away from the implications here.

"The murder of Queen Morgause had not been done on purpose. Agravaine had done it on the spur of the moment - in his outraged passion, he said - but they knew by instinct that it was from jealousy."(p. 484) 

The Candle in the Wind was the last instalment published in White's lifetime - in 1958 - and feels like a definite end to the story and the legend. We're still with the ongoing intrigue between Lancelot and Guenever, but now there's much more about Mordred - Arthur's son with his half-sister. Mordred is a fascist, he and his followers dressed all in black with a distinctive red logo. It's painful stuff, watching him needle and poison and spoil things, and force Arthur - who is sworn to abide by his own laws - to banish Lancelot and send Guenever to be burned at the stake. It's never spelled out, but it seems as if Mordred also murders his own brothers, who have gone to stand against Lancelot but without armour on, to frame the most-noble knight.

This is where the tragedy really sets in, and again it's as much about the world in which White was writing as it is the distant past - a cloud descending on England and threatening to blot it out. It's gripping, as Lancelot walks headlong into a trap, and full of moral quandaries and situations from which we can't possibly see how our heroes might escape. But I also liked the peppering of details from the period, White delighting in its riches and strangeness.

"In Silvester the Second, a famous magician ascended the papal throne, although he was notorious for having invented the pendulum clock." (p. 601) 

He goes on to list other great "scientists" of the age: Albert the Great, Friar Bacon, Raymond Lully, Baptista Porta who "seems to have invented the cinema", according to White (p. 603), and the monk Aethelmaer who dabbled in aircraft.

The book ends with Arthur going out to meet his destiny in a final battle with Mordred, just an ordinary old man going to war rather than all the magic and legend. The candle in the wind of the title is the idea Arthur has sparked - of valour, of equality, of justice. A small boy is sent away from the battle to spread the story, to share that flickering light. With that done, Arthur goes wearily to his fate. It's a powerful conclusion to an epic tale, and I can see why White's editors weren't quick to publish the fifth volume, though it had already been written.

The Book of Merlyn was first published as part of the collected The Once and Future King in 1977. It picks up from the end of the previous instalment with Arthur postponed from going to his doom by the return of Merlyn. There's no explanation for how Merlyn escaped his incarceration, or why he now feels that Arthur requires further schooling. Together, they meet many of the animals who helped educate young Wart and argue about what conclusions to draw.

It is odd. An editor's note tells us that White took passages from this - namely, Arthur's time with the totalitarian ants and with the utopian geese - and inserted them into later versions of The Sword in the Stone, including the version in this book. The repetition is jarring, but very little of The Book of Merlyn offers anything new. Merlyn is angry at the world, at humanity, but his arguments wander. At the heart of his argument are the geese, who Wart once spent a lifetime with and who seem to offer the same perfect way of being as the horses in Gulliver.

The key factor, for Wart and Merlyn and White, is that the geese are migratory and thus have no concept of national boundaries. That is why they never go to war, geese on geese, in the way so specific to humans.

"It is nationalism, the claims of small communities to parts of the indifferent earth as communal property, which is the curse of man." (p. 811)

At the end, Arthur still goes to his fate and White concludes by noting the different ways his story has been told over the centuries. He then signs off in the same manner as Malory. We leave with a pang for Arthur and his light, and for this eccentric author.