Sunday, October 10, 2010

Books finished, September 2010

Books read in September 2010
A better result than last month. I read The Number Mysteries by Marcus du Sautoy in preparation for an interview for a job I then didn't get (I also had to give a presentation with a mathematics theme and chose the Monument in London). It's a lively, approachable introduction to lots of big ideas, most of which I kept up with.

It covers five main topics: prime numbers; shapes; probabilities; encryption; and how we can use maths to predict the future. There are exercises to do along the way, and more activities on the website. There are QR codes all the way through the book, too, offering additional insights should you be reading with your phone. Du Sautoy ably delivers his lessons to readers of all ages and abilities - and the back cover quotes come from Richard Dawkins and an eight year-old.

It's an engaging and informative book, and proved useful for both my interview and the Astronomy GCSE I've just started. How brilliant to understand how prime numbers might helped cicadas evolve defenses against predators. But, just as at school, I struggled to maintain interest when the numbers were all in the abstract. It's the application of the numbers to solving real-world problems that most excites. Interactive content won't in itself help make the thought-experiment stuff any more enticing.

Kraken by China Mieville was a bit of a disappointment after the glorious and award-winning The City and The City. A whopping great specimen of a Kraken in formaldehyde vanishes from the Natural History Museum, and curator Billy Harrow soon finds himself in amid the increasingly weird underground of competing religious groups with vested interested. While Mieville's work has often been so compellingly original, this felt too often like a knock-off Christopher Fowler, and I found the jokes about Star Trek and pop music a bit trite. It's a fun knockabout thriller with some nice ideas and surprises, which any other day would be quite a recommendation.

Adopting a Child is a guide produced by the BAAF and is part of our initial efforts into the Plan B Spawning Project. Have read various other bits and pieces sent by councils and charities, but they don't count as books.

I'm working on the publicity for Nev Fountain's Mervyn Stone Mysteries, so got to read advance copies ahead of hardbacks and leather-bound editions coming out later this month.

And finally, Operation Mincemeat which is a superb bit of work by Ben Macintyre, whose Agent Zigzag I also adored. It's the true story of the man who never was, the dead body planted on a Spanish beach with fake papers in World War Two, to convince the Nazis that the Allies were going to invade somewhere that they weren't.

Macintyre seems to have followed up every possible lead and angle, speaking to the people who were really involved or their families, in the UK and Spain and Germany. He's got a brilliant eye for odd and telling details - there's the man on page 43 who "never wore a hat", or the tradecraft description on page 71 of "wallet litter". The story is fascinating - the plot itself concocted by a bunch of thriller writers - with an extraordinary cast of extraordinary people. A marvel of a book.

Monday, September 27, 2010

The fictional facts of June

A chum has asked how I came up with June, the one-off companion in Doctor Who and the Slitheen Excursion. Figured it might be of interest to a wider audience.

26 March 2008

Big cheese Justin Richards asks if I’d write a Slitheen novel. “It'd be set in the past on earth (probably – I'm open to offers!), c50,000 words, Doctor with no companion.”

27 March

I reply with the usual serious, stoic professionalism:

“Ha ha, yes I'd love to. I'd quite like to do something based around the Acropolis in Athens - going back to Ancient Greece but also somehow incorporating the night in 1687 when the Turks blew the place up.

According to Bronowski's "The Ascent of Man", the Greeks what built the Acropolis were at about the same level of sophistication as the Mayans were when the Spanish turned up and wiped them out (they hadn't discovered the load-bearing abilities of arches, for example).

When you say no companion, can I create a one-book one? Maybe a girl from the near future (when the Elgin marbles have been given back to the Athenians)?

Also, woohoo!”

We knock some ideas back and forth, first thinking that the book might start with June visiting the British Museum, then (because that's how The Stone Rose begins) with June on a school trip.

I set to work on a first synopsis, which begins:

“June is 17 and not very confident about her forthcoming A-levels. She’s on a college trip to the Palace of Westminster (not, she has learnt that morning, the “Houses of Parliament”) when she spots the Doctor. He must be important because he doesn’t have a security pass – not even the pastel-coloured stickers that they give to the tourists – and yet the policemen with machine guns let him go where he likes.

June dares to follow him and saves his life when a monster jumps out on him. The Doctor stops the monster by talking nonsense. It feeds on nonsense and illogic – so the Palace is like a restaurant. The Doctor owes June a favour and she asks if he can help with her essay. She’s got to write about the history of democracy.”

She’s called June after my mother-in-law, who has loyally read all my stuff and who likes David Tennant.

Justin has notes on the story itself, and as I work on these over the next week two things occur about June. First, it would help for her to know a bit about Ancient Greece. If I tell the story from her perspective, she can explain the context as we go, rather than relying on lots of exposition from the Doctor. I make her a bit older and a university student, so she’s a bit more of an expert. In fact, I’ll put her on the degree course that my wife and some of our friends did. Then I can pick their brains.

Second, the Doctor’s met all his New Series companions in London so far, so let’s do something different. I could set my prologue in a museum in Manchester (there’s a cast of the Parthenon frieze above the main staircase of Manchester Art Gallery), or I could just cut to the chase…

5 April

Version 2 of the synopsis now begins:

“The Acropolis in Athens, present day. June is 20 and on holiday before her final year at university, where she’s studying Classics. She’s taking notes, ignoring the other, brasher tourists, and trying to work out how she can get this all into her dissertation.

And then she spots the TARDIS materialising down on the road to the theatre. A skinny man emerges… and is promptly set upon by some monsters. No one else notices so June hurries down to investigate.”

16 April

Justin is happy with the synopsis, and just needs a shorter, two-page version for sending to Cardiff for approval.

23 April

Cardiff approves the outline – I’ve now got until 1 October to get the thing written. And a Primeval novel to write at the same time.

I’ve been making notes and reading up on the history. Ken Dowden’s The Uses of Greek Mythology has got me thinking how the events of this story will be retold after the Doctor has gone, so I’m reading Louise Schofield’s The Myceneans looking for stuff I can provide an origin for: bull-leaping, the worship of bulls generally, Deukalion, an image on p.104 of a warrior woman (possibly Athena) in a boars’ tusk helmet and holding a baby griffin...

And I’ve an idea how to tie June into that. One bit of scribble in my notebook reads:

“June's dad is more English than the English, though he was born in Uganda + had to leave when Amin expelled the Indians. These identities are complex. And, of course, the statue of June (i.e. Athena) at the Acropolis has her as a white girl.”

19 May

I visit the set of Primeval as research for that book. Get to meet Laila Rouass who's playing new regular character Dr Sarah Page – an archaeologist working in the British Museum. It looks like the new series of Primeval will air in February 2009, a good two months before my Slitheen book comes out. So if I stick to my plans for June it'll look like I'm copying. Or, since I'm writing both books at the same time, there's more chance I'll get confused.

It’s not that I’m planning to #racefail and make her someone else. It’s more how I’ll portray her. I’m telling my story from June’s perspective anyway, so let’s see her character from her thoughts and actions and not what she looks like.

Think now I could have done that by giving her a surname that suggested her heritage, as we tried to do with Emily Chaudhry. (Though note plenty of companions don’t have surnames: Vicki, Polly, Leela, Adric, Nyssa and Ace.) I shall leave that to the fanfic.

8 June

June is visiting Athens with some other backpackers, ones who don't share her enthusiasm. Extract from my notebook:

“Unreliable history; Chinese whispers etc. & at start June cross cause has read her friend's diary, and it paints June as naïve + wowed by it all. And bored, just wants pizza and beer. And June sees the tourists, only stopping to take photos, not LOOKING, THINKING, IMAGINING”

5 July

I watch Journey's End and the Doctor’s left travelling on his own and all gloomy. It makes more sense for June to be travelling on her own, too, escaping stuff back at home.

10 September

I’m still trying to seed clues about June’s heritage into the book, but they all feel clunky and awkward. From the first draft of chapter one:

“'You're not from round here, are you?'

June's eyes narrowed. 'I'm English,' she told him.

'Oh yes,' said the Doctor. 'From somewhere round Winchester if I'm not mist judging by the accent. But you've spent some time recently in Birmingham + you like the Aussie soaps.'”

Instead, I decide I’m not going to tell you what she looks like at all. We know what sort of person she is from the things she thinks, says and does. We know what drives her – there’s plenty of stuff about what Greece means to her and why she’s out here alone. We see how her perspectives are changed by being with the Doctor. But otherwise the wheeze is she’s an everywoman, looking however the reader wants. In fact, I’m hoping she might even be the reader.

I take solace in this when the angrier end of the internet declares she’s “dull” or “generic”. (Though my favourite comment so far is from someone who’s cross I’ve got “basic fictional facts wrong”.)

Saturday, September 25, 2010

Pornography in hospitals

"Pornography in Hosptials" by Ben Goldacre in today's Guardian. The Dr encouraged me to respond:
"Fascinating article, thank you. We finished our final course of IVF earlier this year with no good result and are now looking into adoption. We found the whole process of IVF utterly harrowing: I blogged about it at http://0tralala.blogspot.com/2010/02/ivf.html and then again at http://0tralala.blogspot.com/2010/04/game-over.html.

We were caught between three health authorities so I've used the wanking rooms in four different hospitals in the last few years.

They all provide instructions. For the initial tests into infertility, you're meant to abstain from sex for three days prior to producing a specimen. When it gets to the IVF itself the instructions are more complex – you have to ejaculate as near to 48 hours before as possible, and then on the day itself, once the eggs have been prepared, everyone's just down the corridor waiting on you. So no pressure.

But otherwise the hospitals do very different things. Hospital #1 had a photocopied sheet (which I kept because I thought no one would believe me) that explains things like, “The specimen must be obtained by masturbation...”. It also says, in bold, “NB There are no facilities for the specimen to be produced at [Hospital #1]” and that specimens must be delivered within 45 minutes.

This is something of a bother if you live 45 minutes away from the hospital by car, and worse if you don't have a car. At exactly what stage in the process do you ring for the taxi – before or after?

The taxi driver will inevitably arrive earlier than you're expecting, and then – as you sit red-faced and guilty in the cab – will not know where the hospital is. So you get out the photocopied sheet for the address, and realise as you show it to him that it says in big letters “Semen samples for infertility investigation”.

There is not a lot of dignity in this process.

I've sadly not been able to find the photocopied sheet from Hospital #2, but I'm pretty sure I kept it because it said something along the lines of, “Please do not produce specimens in the waiting room.” I assume they need to tell us this based on past experience.

At Hospital #3 there's a special toilet cubicle with its own key and a small offering of tatty pornography. You collect the key from the nice lady at reception, who provides you with a pot and a brown envelope. You produce your specimen, fill in the label on the jar and hide the jar in the envelope. You then take it back to reception, but don't hand it to the receptionist. Instead, you put it in one of the lockers opposite, lock the door and hand the key to the locker and the key to the wanking room to the receptionist. That way, of course, she won't know what you've just done.

If someone else is waiting for the room, you don't hand the key to them. Instead, you pass it to the receptionist who leaves a beat before handing it the next wanker. You shuffle off, trying not to make eye contact.

Worse is when the next person is already waiting before you go in. You find yourself wondering if you've been to quick or slow. Is there a study on the optimum time spent having a wank?

Because of building work at Hospital #3, our last go at IVF was split between there and at Hospital #4, with me dashing across town in a taxi to deliver freshly harvested bits of my wife. Hospital #4 is an altogether different operation, with a very smart room for a better class of wank. There's a light outside the door to let other people know its occupied, a DVD player as well as the magazines, and a comfy leather chair. Well, I say “comfy” - it would be in any other circumstance. You try not to wonder if the seat is warm from the last occupant, and not to make the chair squeak.

Instead of a locker system, you put your labelled jar into a pneumatic tube. It's like a wank from the future.

The porn was still just as cheap and tatty as that in Hospital #3 – which I'm sure will come as some comfort to taxpayers and think-tanks. And it's a stressy, pressured thing to have to do anyway, and so spectacularly unerotic. As a bloke, this is your one contribution to a process that is, for your partner, awful and intrusive and bruising - physically and mentally. You spend most of your time as a useless spare part, while the person you love goes through hell.

You get used to the matter-of-fact and brutal language with which your plumbing and parts are discussed. You get used to the numbers these tests produce, and the stark probabilities of success. You and your partner are utterly objectified, cuts of meat on the slab.

I appreciate the objections to porn, and in the context a workplace. But as my blog post says, there's a lot of weird reactions to IVF, and the way some people judge you for it – or seem to – is particularly cruel.

IVF is a desperate and terrible thing to go through. I'd have stabbed myself in the eye if the doctors had said it increased the chances of success. £20 a year on some tatty jazz mags doesn't seem very excessive."

Thursday, September 23, 2010

Forthcoming events

Suddenly I'm quite busy. A freelance gig is now going to run pretty much full-time til Christmas, and I've a number of commitments to fit in around it. This is truly a GOOD THING, but don't expect much action here on t'blog.

Here are two things I'm up to:

Astrobiology at the Royal Observatory, Greenwich
Thursday 14 October, 18:30-21:00
The range of talks, screenings and activities include "Good monster/bad monster – scientists and writers discuss what makes a believable alien lifeform. With Simon Guerrier and Dr Zita Martins." (Part of Sci-Fi London)

Sci-fi Egypt at Petrie Museum of Egyptian Archaeology
Saturday 23 October, 19:00-21:00
Time travel back to Ancient Egypt to see monsters and aliens pitted against the Egyptian Gods. From the Daleks, who visited the building of the Pyramids, to the Stargates which reach across space and time, the history of Egypt has been a rich source for science-fiction. Grab a free trail, written by Doctor Who books author Simon Guerrier, on Egypt's use in sci-fi and explore the Petrie Museum with a glass of wine! (Part of the Bloomsbury Festival)

Saturday, September 11, 2010

"There are more wild horses in Australia than any other country."

YouTube now boasts two clips from Rode Trip, the documentary made by my brother/boss following two people riding across Australia on horses they tamed themselves. (I was script editor on the film and did a day's interviewing for it.)



Wednesday, September 08, 2010

"Where they burn books..."

Was going to write something about book-burning, then remembered I already had:
"We pass through Bebelplatz, the square where the Nazis burnt 25,000 books.

The well-read Dr quotes Heine’s remark that,
“where they burn books they will also, in the end, burn people,”
and wonders whether the burning of the Satanic Verses all those years ago was the first symptom of more recent religious tensions. I start to answer that burning books is easier than burning people, but that’s not actually true.

The destruction of books is the destruction of social structure. The law is in books, as is religion and science and history. To burn a book is a refusal to empathise, to think, to engage. When you have burned down people’s ideas and opinions there is nothing left to stop you burning the people down, too.

Bebelplatz is an empty, open space amid the university, and though there are a couple of artworks about books in general, I think there should be something more lasting. They should have something like the stalls of mixed second-hand reading outside the National Film Theatre, with all kinds of well-thumbed, unsuitable ideas at tantalisingly affordable prices."

Monday, September 06, 2010

Monument to certainty

The Monument, London
This is the Monument, built between 1671 and 1677 to commemorate the Great Fire of London.


Climb the 311 steps to the viewing platform – as I did on Tuesday – and as well as the nice views you get a certificate. But the Monument is more than just a memorial to the fire. It was built by Christopher Wren and Robert Hooke – members of the Royal Society.

Robert Hooke
This is Hooke in a modern painting by Rita Greer. He deduced the wave theory of light and the law of elasticity – which is named after him. He was a pioneer of surveying and map-making. He wasn't a little guy in science. But it was to Hooke that Isaac Newton wrote his famous remark, “If I have seen further [than others] it is only by standing on the shoulders of giants”.

It's a back-handed compliment: Hooke had come close to deducing – before Newton – that gravity follows an inverse square law and that this explains the movement of the planets. Newton developed Hooke's ideas but – Hooke felt – didn't credit him sufficiently. So perhaps Newton's remark is rubbing Hooke's nose in it: the “giant” Newton was standing on had a stoop and may have been a hunchback.

The remark though, is often seen as a testament to scientific endeavour – scientists and mathematicians building on the work of their peers and predecessors. That's why it's engraved on £2 coins (though perhaps that's not the best example of engineering prowess - the coin also shows a a series of cogs in a circle, but there's an odd number so the machinery would not be able to turn as it would pull against itself). As Jacob Bronowski said in The Ascent of Man,
“Year by year, we devise more precise instruments with which to observe nature with more fineness.”
Jacob Bronowski, The Ascent of Man (1973), p. 356.

The Flea, seen by Robert Hooke
This is Hooke's drawing of a flea from Micrographia, published in 1665. It was the Royal Society's first major book – and the first scientific bestseller.

Micrographia isn't just about looking at tiny things through a microscope. It includes drawings of distant objects, such as the Moon and the star cluster Pleiades (see below). Large and small, these observations changed our view of the universe and our place in it. Theories on gravity needed more and better data about the stars – that meant better telescopes.

In principle, the mathematics of improving a telescope are simple. A lens defracts the light so when you look through it things seem bigger. Look through two lenses at once and they're bigger still. The easiest way to do that is to place a lens at either end of a tube. Increase the distance between the two lenses and you increase the magnification. So to really study the stars, Hooke needed a really long tube...

The Monument, London
The Monument was built as a zenith telescope – one that looks straight up. By looking at a fixed star, Hooke hoped to gain evidence that the Earth moved round the Sun. Maths provided the theory: now Hooke would prove it for certain.

Looking down from the top
The spiral staircase inside means there's a clear view all the way up to the top of the Monument, where a trapdoor would open to reveal the sky. To make the telescope even longer, Hooke worked down in the small cellar – you can see it through the grill in the floor as you begin your climb.

Sadly, though, the telescope didn't work. The vibration from London's traffic meant the readings were never accurate enough. The mathematics of lenses is simple, but the reality is more complicated.

Equal-height steps at the Monument, London
The Monument was used for other experiments. The steps were designed to be used in pressure studies, and are all exactly six inches high.

Hooke continued to study the stars. He worked on the design of the Royal Observatory in Greenwich, the first purpose-built research facility in the country. And the more we've discovered since Hooke about space and the position of the stars, the more we come back to the problems that vexed him.

Me at Jodrell Bank
This is me at the 76-metre Lovell radio telescope at Jodrell Bank. It's the third-largest steerable radio telescope in the world. But, like the Monument, size isn't everything. Just beside it is a 38-metre Mark II dish which turned out to be much more accurate and better at listening to higher frequencies.

The moon and Pleiades, seen by Robert Hooke
There's also the accuracy of the observations we make. “Astronomical instruments have been improved,” says Jacob Bronowski.
“We look at the position of a star as it was determined then and now, and it seems to us that we are closer and closer to finding it precisely.

Spot the star
“But when we actually compare our individual observations today, we are astonished and chagrined to find them as scattered within themselves as ever. We had hoped that the human errors would disappear ... but it turns out that the errors cannot be taken out of the observations. And that is true of stars, of atoms, or just ... hearing the report of somebody's speech.”

Ibid., p. 358.


Bronowski called this,
“the crucial paradox of knowledge ... we seem to be running after a goal which lurches away from us to infinity.”

Ibid., p. 356.

Since Newton, we tend to assume that the laws of nature are regular, simple and mathematical, and that any deviation from that regularity in our measurements is likely to be our own error. Mathematics can help clarify our observations.
“When an observer looks at a star, he knows there is a multitude of causes for error. So he takes several readings, and he hopes, naturally, that the best estimate of the star's position is the average – the centre of the scatter.”

Ibid., p. 358.


The mean average of a star
Johann Gauss (1777 to 1855), sometimes known as the “Prince of Mathematicians”,
“pushed on to ask what the scatter of the errors tells us. He devised the Gaussian curve in which the scatter is summarised by the deviation, the spread, of the curve. And from this came a far-reaching idea: the scatter marks an area of uncertainty.

An area of uncertainty
We are not sure that the true position is the centre. All we can say is that it lies in the area of uncertainty, and that the area is calculable from the observed scatter of the individual observations.”

Ibid.


Looking up at the spiral staircase in the Monument, London
The folly of the Monument is not that it didn't work as a telescope but that Hooke, looking up through it from his cellar, was looking for certainty, for proof of the mathematical theory. It's not that maths or physics are uncertain, but measurement is. Bronowski described measurement as "personal". Maths doesn't prove with certainty, but it can show the extent of what we don't know.

(Thanks to Simon Belcher, Danny Kodicek and Marek Kukula who looked this over, and Marcus du Sautoy who pointed out the cogs on £2 coins.)

Friday, September 03, 2010

Books finished, August 2010

Oh, no books
Ah. Have been a bit busy on other things - research and job hunting and a new on-spec novel which is currently called "The Dream". But am almost at the end of two books now, so September might be bumper crop.

In other news, the cast for my mini-series Graceless has been announced, and I really couldn't be happier.

Saturday, August 28, 2010

"Give me a Viking funeral"

The Sagas of the Icelanders is a 780-page brick of a book, a selection of the best sagas from the newly translated and spangly complete collection. It's a lovely edition, printed on thick paper cut like crinkly chips.

The sagas are fascinating, a collection of histories and adventures about the earliest settlers of Iceland, from about 800 to 1100 AD, and written down a couple of hundred years later (so roughly contemporary with Chaucer). They're a rich and vivid window onto the culture I'd previously read about in my chum Jonathan Clements' Brief History of the Vikings.

The sagas tell of the lives of particularly noteworthy individuals and their families. They explain why different families left Norway and Denmark, how places in Iceland were named and how the land was divided up and fought over. Characters appear in more than one saga, so the stories build up a rich and cross-referenced history packed with detail.

As the Vikings trade with, explore and raid other countries, we get glimpses of Denmark, England, Finland, Ireland, North America, Norway and Scotland – and their kings – as well as meeting characters from Rome and Russia. There are all sorts of morsels to be gleaned from this, such as on language:
"King Ethelred, the song of Edgar, was ruling England at that time. He was a good ruler, and was spending that winter in London. In those days, the language in England was the same as that spoken in Norway and Denmark, but there was a change of language when William the Bastard conquered England. Since William was of French descent [though, er, also a Norman or Norseman], the French language was used in England from then on.”

Katrina C Attwood (trans.), 'The Saga of Gunnlaug Serpent-Tongue' in The Sagas of the Icelanders, p. 572.

Or there's the insights into contemporary fashion, for example the kjafal, worn in Scotland by both men and women:
"which had a hood at the top but no arms, and was opens at the sides and fastened between the legs with a button and loop; they wore nothing else.”

Keneva Kunz (trans.), 'Eirik the Red's Saga', in ibid., p. 667.

We also learn about romance. There are plenty of loving relationships and a fair few nagging wives. And then there's this telling detail about a lover who knows her business:
“She welcomed him warmly and offered to search his hair for lice.”

Keneva Kunz (trans), 'The Saga of the People of Laxarddal',p. 342.

While the sagas spare none of the explicit details when it comes to violence, they're coy about the rude stuff. Gisli falls out with his wife, whose gossiping can only lead to trouble. He's so appalled by her, he won't let her in his bed. But she's not taking no for an answer as she climbs in beside him:
"She soon made clear what she wanted to do, and they had not been lying together for too long before they made up as if nothing had happened.”

Martin S Regal (trans), 'Gisli Sursson's Saga', p. 511.

Generally the sagas tell us two things: what people were like and what they fought over.

Egil Skallagrimsson, star of his own saga and a cameo in several others, is tall, bald and generally bad news. He continually causes trouble, saying the wrong thing or killing the wrong people, leaving his mates to sort out the mess. On no account should Egil ever be allowed near booze.
"Egil ... stood up and walked across the floor to where Armod was sitting, seized him by the shoulders and thrust him up against a wall-post. Then Egil spewed a torrent of vomit that gushed all over Armod's face, filling his eyes and nostrils and mouth and pouring down his beard and chest. Armod was close to choking, and when he managed to let out his breath, a jet of vomit gushed out with it. All Armod's men who were there said that Egil had done a base and despicable deed by not going outside when he needed to vomit, but had made a spectacle of himself in the drinking-room instead.

Egil said, 'Don't blame me for following the master of the house's example. He's spewing his guts up just as much as I am.'

Then Egil went over to his place, sat down and asked for a drink.”

Bernard Scudder (trans) 'Egil's Saga' in ibid., p.139.

A page later, for no other reason than to add injury to insult, Egil kills Armod. But that's apparently okay because a) Egil is a big guy who's good at fighting and b) he has a line in sarcastic poetry. The saga continues in broadly the same vein until, in his 80s, Egil manages to start one last scrap before he dies.

There are plenty of other mischievous, selfish and unlikely characters. 'The Saga of the People of Laxardal' is full of strong women, but it's Freydis in 'Eirek the Red's Saga' that most strikes a chord. She's pregnant when some Native Americans / Injuns attack, but berates the other Vikings for running off. Then she spots a dead man:
"His sword lay beside him, and this she snatched up and prepared to defend herself with it, as the natives approached her. Freeing one of her breasts from her shift, she smacked the sword with it. This frightened the natives, who turned and ran back to their boats and rowed away.”

Keneva Kunz (trans), 'Eirek the Red's Saga' in ibid., p. 671.

These are savage and pagan times, full of dark magic and dreams that predict the future. That said, the Vikings don't behave any different after they convert to Christianity. In fact, they are made to convert with nothing short of brute force:
"King Olaf sent his own royal cleric, a man named Thangbrand, to Iceland ... He preached the Christian faith with both fair words and dire punishments. Thangbrand killed two men who most opposed his teachings.”

Keneva Kunz (trans), 'The Saga of the People of Laxarddal', p. 352.

Christianity seems to co-opt many of the pagan traditions. The Vikings give gifts at winter festivals – men are judged not on what they own but what they give away. Then there are their naming ceremonies:
"vatni ausinn: Even before the arrival of Christianity, the Scandinavians practised a naming ceremony clearly similar to that involved in the modern-day 'christening'. It is mentioned in eddic poems such as Rigspula (The Chant of Rig), st. 21, and Havamal (The Sayings of the High One), st. 158. The action of sprinkling a child with water and naming it meant that the child was initiated into society. After this ceremony, a child could not be taken out to die of exposure (a common practice in pagan times).”

Glossary, p. 756.

The things these people fight over seem very familiar, too – they might have come from the plots of Charles Dickens. There's various examples of people getting snitty because their neighbours graze animals on their land. There's the fighting over inheritance, there's the perceived slights between families and friends, there's a long whispering campaign against a chap called Thorolf (there are quite a few in the book) by relations of his wife's first husband who feel they're entitled to part of his lands.

In fact, there's a lot on inheritance – money owed to children, but also the importance of good family and people knowing who your parents are. The implication is that there's virtue in blood. It's something that crops up in 19th Century novels, too. If this belief in the importance of blood has been long-ingrained by culture for 1,000 years, it might explain why it's been so difficult to get past.

Anyway, the chief difference from Dickens is the way these things get dealt with. On a few occasions, one neighbour murders the slaves of another, or sneaks in to the neighbour's house at night to do away with the neighbour. In a particularly grisly example, two 10 year-old children try to fight their fathers' battle and end up killing each other. Murder in Dickens is a Big Plot Thing, here it's an everyday occurrence.

But these things are also long remembered. Sons and grandsons seek revenge for slights visited on dead ancestors. The courts – or allthings – attempt settlements of disputes, but it's an odd process. On page 450, Hrafnkel is prevented from hearing the case made against him by a crowd outside the court. But he's a villain, so that's okay.

Often we're told that someone acted honourably or wisely when all he's done is butcher his enemies or bribed the judges. Honour is a major theme of the stories – and often a catalyst for things going wrong. For all the greed, ambition, sulking and stupidity on display, it's often long-standing oaths that get people in trouble.

The sagas struggle to draw moral lessons from these savage times, and – as with Beowulf – there are odd inconsistencies. Gisli, for example, finds himself ambushed by 12 men who've been wound up by his wife's rumours. He fights bravely:
“Then, when it was least expected, Gisli turned around and ran from the ridge up on the crag known as Einhamer. There, he faced them and defended himself.”

Martin S Regal (trans), 'Gisli Sursson's Saga', p. 554.

But a page later, the odds are too much against him and he dies. The saga adds its own note on his heroism, and despite what we've just been told about him running back to a better position, tells us:
“They say that he never once retreated.”

Ibid., p. 555.

In short, the sagas are full of rich adventure, vivid characters and telling details. But I can't help feeling they confirm the cliché of the Vikings as brutish, pillaging thugs. As a kid, a description of the Viking way of life struck me as downright cowardly. There's little in the sagas to convince me I was wrong.
"If the enemy was more powerful than you, you went away. If he could be defeated, you killed, imprisoned or enslaved. You were unswayed by pity or mercy.”

Gerry Davis, “Prologue: The Creation of the Cybermen” in Doctor Who and the Cybermen (1974), p. 3.

Friday, August 27, 2010

An appeal

Have spent a lot of this last month researching bits and bobs, and have the following appeal to publishers and editors:
  • All works of non-fiction should have an index
  • Footnotes not endnotes
    (Some subs explain wearily that footnotes are fiddlier when laying out pages, though most DTP packages make them dead easy. Footnotes are also much easier for proofing, too, and make it much more obvious when a citation isn't needed.)
  • Search the text for "I believe" and "seems to me" - which generally indicate opinion masquerading as fact or a sudden lack of evidence
Thank you.

Tuesday, August 17, 2010

Face to face

I am mostly spending this week interviewing people with connections to Doctor Who old and new, which is fun. I've also been interviewed about my first Doctor Who audio play, The Coup (available for free from those nice people at Big Finish). Issue 5 of the fanzine The Finished Product looks at the UNIT mini-series and talks to people far nobler, wiser and handsomer than me, too.

Thursday, August 12, 2010

Floored again

Those images you have been yearning to see...

Bathroom with new lino
Hallway with new carpet
The cat has inspected every last detail but remains undecided on the whole business. But the new carpets should make it easier to clean up after him - he is quite industrious at shedding hair everywhere. We await his first vomit with interest.

While the Men were here fitting everything, I wrote a new spec comic strip which I'm kind of pleased with. Am now off to buy a chicken for tonight's tea. But who is our mystery guest?

Wednesday, August 11, 2010

Floored plan

Since my last post, I've finished the first draft of the script and await notes from the Wise Folk.

Of even less interest, I have painted bits of the flat. Today, as well as the usual job applications and pitching every which way, I rollered a second coat of paint in the hall and landing, and ripped up the carpets. New carpets - and lino in the bathroom - tomorrow.

I am knackered. This my showbiz life.

Bathroom prior to lino
Landing prior to new carpet

Saturday, August 07, 2010

Moving and doing things

Busy, busy, busy with a spec script that needs finishing, sorting out the flat to put it up for sale and scrabbling around for paid work. But a few bits and bobs of interest.

Issue #18 of free magazine Vortex (PDF, 7.02Mb) includes a thing by me on the mini-series Graceless, which includes some notes on the kind of things to worry about when writing an audio play:
"You need distinctive settings with the characters moving and doing things, to disguise the fact it’s all made by actors standing in little recording booths. You try to keep the scenes to no more than three pages (partly because it helps the pace, partly because you can’t fit more than three pages on the stands in the booths). You try to make every scene end with things having changed for each of the characters, while keeping their immediate desires and fears clear to the listener. You worry about names and technobabble that might trip up the actors, and how simply and vividly you’re making everything..."

Me, "In The Studio - Graceless", in Vortex #18 (August 2010), p. 4.

The same issue of Vortex also boasts new interviews with the Fifth and Eighth Doctors. You can also catch up with past issues at Vortexmag.com.

For more on writing audio plays, see m'colleague Jonny Morris on the writing of his new Doctor Who play, Cobwebs.

Graceless itself will be out in November, and I'm thrilled to be going out to ChicagoTARDIS to help flog it. Was there two years ago and had a lovely time.

Also, my Doctor Who play The Guardian of the Solar System is now out and generally seems to be going down okay. Nicholas (Nwhyte) liked the "fantastic image of elderly prisoners forced to maintain a gigantic clock", though felt,
"It doesn't all make perfect sense, and the three stories will probably confuse listeners who know nothing of The Daleks' Master Plan. But I enjoyed it."
EG Wolverson is a lot more positive, calling it,
"a delectable fusion of staggering concepts, fan service most foul, and agonisingly heart-rending drama – a combination that most listeners will find impossible to resist."
And also now live is the BBC's Hand on History website, linked to the season of programmes about the Normans. I researched and wrote a small chunk of the clicky map that helps you find Norman day trips on your doorstep.

Thursday, August 05, 2010

Tuesday, August 03, 2010

Farley Mount

Farley Mount, 1 August 2010
Spent the weekend at the parents' and on Sunday morning my mum took me to Farley Mount. I've not been there since my early teens, but once it was a regular haunt. My brothers and I would climb the trees, chase the dog and lose frisbees. That might not be of any interest to you, but it's still a weirdly cool place.

Farley Mount, 1 August 2010
I also remember the Ordnance Survey trigpoint pillar being the Master's TARDIS, landed in front of the Dark Tower. I vividly remember scrabbling up the side of that pillar to be king of the castle and to annoy my younger brother. I remember reaching up to the top of the pillar, which is now not much higher than my waist.

Ordnance Survey marker at Farley Mount
The place did seem strangely smaller than I remembered and the short walk from the car park had once been an epic trek. But also I'd forgotten - or never noticed - that it was in an enclosed area, so a safe place for kids to gambol about. Mum also pointed out something I'd always been too short to see. On a clear day you can look out across the fields and spy the Isle of Wight. (I didn't take a photo of that, sorry.)

Farley Mount
We let the other visitors leave before clambering up the short slope to the thing itself. They've cut down the trees that I used to climb in, but the graffiti was as I remembered.

Farley Mount
It's a weird structure, perched up on a hill and can be seen for miles. I really want to walk the 24-mile Clarendon Way sometime, the ancient road connecting the Roman towns of Winchester and Old Sarum. (The Normans rebuilt the town of Sarum, then found the Roman earthworks too small for their needs so moved to a new site - New Sarum, or Salisbury.) Hoping to do that this autumn.

But what, you're asking, is this weird monument for?

Sign at Farley Mount

Monday, August 02, 2010

Books finished, July 2010

Books finished in July 2010
The Giraffe and the Pelly and Me isn't exactly one of Roald Dahl's best, and confusingly the "Me" of the title is not the small boy who narrates the story. It's a fun enough story about an all-animal window-cleaning service helping a small boy to fulfill his dream of running a sweet-shop, but it's not nearly as funny or thrilling as Dahl's other stuff.

The Sagas of the Icelanders is a fantastic best-of, produced alongside a sumptuous translation of the whole damn lot of histories set between about 800 and 1100 AD and written down a couple of hundred years later. It's reveals a fascinating, rich and bonkers world, full of richly drawn characters and eye-popping events, and deserves a post all of it's own. I realise that, on past form, that means I'll never get round to it. But I mean to.

Burton on Burton is a series of interviews with the director from his early work as a scribbler for Disney up to his (then forthcoming) Ed Wood. Burton tends to shrug his shoulders in response to the questions - his influences, his methods, his love of people wearing stripes. He's amiable enough but there's no great insight into his brain. The book is also from a time when Burton's career was generally in the ascendant, and I wonder if his perspectives have changed as a result of some projects not entirely wooing an audience. A nice enough but not exactly essential read.

I attended the launch for Admiral Togo, written by my chum Jonathan Clements. It's a fascinating account of the man who commanded the fleet in the Russo-Japanese War of 1904-5 which was so integral to my History A-level and was, until the Japanese sided with the Nazis, a celebrity all round the world. Clements is good on conflicting sources and context, and has a nice eye for detail and the absurd. For example:
"Barbed wire had been employed against cattle for several decades, but it was at Port Arthur [in the siege in 1904] that it was first recorded in a military application."

Jonathan Clements, Admiral Togo: Nelson of the East, p. 174.

Wednesday, July 28, 2010

Oliver Harper

I've created a new companion for Doctor Who. Am also behind on a script, so must dash...

Sunday, July 11, 2010

Radio active

Mr and Mrs Brother-in-Law treated me to a trip to Jodrell Bank today, the whopping great radio-telescope which is a whole bucket of cool.

Me at Jodrell Bank
It's more than a decade since I last traipsed round the place, and it is much transformed. Whereas then it was all rather ropey displays explaining what different planets looked like, now you follow a route of board explaining that the radio telescope listens to the stars. There's plenty of what it listens for, what it's discovered and how it teams up with other radio telescopes around the planet to do other cool stuff. Jodrell Bank continues to have particular skillz at spotting pulsars.

The Dr and a tall dish.
The visitor centre is due a big revamp, and comprised a small display, a cafe and shop selling general space tat rather than anything specifically relating to radio telescopy. I'd also have liked something specifically about the site: it's history and achievements.

We also paid for a 3D theatre show (because what other theatre is in 3D?) of two quick shows, one explaining that Space Is Big and the other showing us the landscape of Mars. They were fun and a bargain, and narrated by bolshy Australians which was a bit of a surprise.

Afterwards, we went for lunch at the nice, friendly Egerton Arms, and my roast beef and Yorkshire pudding did an impression of the telescope.

Sunday lunch pretending to be physics

Saturday, July 03, 2010

Remembrance of the Dahlesque

As a belated birthday present, the Dr took me to Great Missenden today and the Roald Dahl Museum and Story Centre. It comprises three rooms, plus teaching spaces, cafe and shop. The Boy Gallery covers his early life, the Solo Gallery covers his later life - the names taken from his two volumes of autobiography, which I read in May.

As a result, I was already very familiar with a lot of material, but the museum works well to bring it alive. There's plenty to touch and try - hand puppets, magnets, images and documents you can handle yourself. It's a very family-friendly place, and I can see how a child might be lost there for hours.

Impressively, it's also packed full of engaging stuff for the adults, too - and not just because we tried the puppets. They've an extraordinary archive of Dahl's letters and drafts - Dahl doesn't seem to every have thrown anything away. There's a telegram from Walt Disney and Dahl's first thoughts about writing a picture book for younger children (which became The Enormous Crocodile). There are displays of his own possessions - the sandal that inspired the BFG's footwear, the flying cap he wore as a pilot - and plenty of video clips.

There's not a great deal on Dahl's adult books and screenplays, and though there's nuggets of fact about his life after 1941 - including a year-by-year "Roald Dial" illustrated by Gerald Scarfe - I still feel left hanging after the end of Going Solo. (I asked the young scamp in the shop to recommend me a biography. He thought long and hard, then suggested Boy. I bought a Collected Stories instead.)

Then there's the Story Centre, where we're encouraged to write and draw our own stories, with advice from Dahl and other big-name writers. Dahl was always worried about boring children, and avoided long descriptions and flowery prose.

The museum also contained oddly incongruous props from recent movies based on Dahl's work, including these wondrous copies of Deep Roy:

Deep Roy x2 in the Roald Dahl Museum
The Dr and I did some colouring in: mine's now glued into my notebook; the Dr's is on display.

Snake by the Dr
We thence went to the pub for a pint and a pie, before heading on to the Parish Church of St Peter and St Paul to look for Dahl's grave. Some giant footprints led us to the spot:

Giant footprints leading to Roald Dahl's grave
The grave itself was decorated with offerings: onions (Dahl loved to grow them), small change and letters from school groups.

Grave of Roald Dahl
Directly below Dahl on the hill was this rather impressive grave of his step-daughter Lorina Crosland, with a fine illustration of a monkey:

Grave of Lorina Crosland
We then went and found Gipsy House, Dahl's home, which is a private residence with an immaculate garden. We pressed on up the hill, past picturesque farms and onto a woodland footpath. I bravely stamped down the nettles on either side of the path so the Dr could pass in her flip-flops. We wended round into the village again for another pint before catching the train back into London.

Friday, July 02, 2010

Books finished, June 2010


Got all caught up in work and real life this past month, hence the lack of blogging. But I did get through some books.

Mortal Engines by Philip Reeve is superb: a thrilling adventure in a rich and vivid world, packed full of wild ideas, brilliant characters and eye-popping surprises. Just wow.

I'd read a lot of Lance Parkin's fanzine material in the original fanzines, so a lot of this collected edition felt like revisiting my years as a student in Preston. Lance has often been keen and forthright in his views and there are all kinds of nuggets of insight here, along with stuff where perhaps his enthusiasm goes a bit far.
"1974, then, was perhaps the year when the Copernican revolution came for Doctor Who - the year when Doctor Who stopped revolving around the TV series."
Lance Parkin, 'A forty-year adventure in time and space', in Time Unincorporated - The Doctor Who Fanzine Archives Volume 1: Lance Parkin, p. 29.
I wonder what fans who've come to the show since 2005 will make of this insight into those dark days when there was No Doctor Who On Telly, and we clung to books and audios as keepers of the flame. There's some wild-eyed True Belief here, that the show will come back and be brilliant and prove all the Heretics wrong. How brilliant that he's been proven right.

You can still read Lance's blog about the writing of his Doctor Who book "The Eyeless", on which I commented back in November 2008.

The Gift by Lewis Hyde was a present from m'colleague Ben, and I made pages and pages of notes on it while on holiday in Malta. I'll endeavour to write those up some day properly. The book comes in two halves: first we're shown the difference between a market economy for products and a gift economy for ideas. I read-up on gift economies when I wrote The Judgement of Isskar and had the Doctor explain them this way:
    DOCTOR:
    Oh. Well, you send Christmas cards out to everyone, and then it’s on their honour to send you a Christmas card back.
It doesn't quite work like that: a gift economy isn't about two people sending stuff back and forth between them; you pass the gift onwards. So really the Doctor should have said:
    DOCTOR:
    Oh. Well, you send Christmas cards out to everyone, and then it’s on their honour to send out Christmas cards themselves.
Ideas and artworks, Hyde argues, have always flourished in gift economies, and he cites all sorts examples. In the second half, he focuses on the lives of two poets - Walt Whitman and Ezra Pound - to explore the problems of being an artist and at the same time getting paid.

I'm not going to attempt a fully fledged reply now, but the book really prickled my brain, challenging me on what I do for a living and how. I squawked with horror at the snobbishness about getting a day job to pay your way, and Hyde's sense that any kind of compromise or patronage is selling out. And Whitman and Pound, whose lives both went so awry, are hardly people we should aspire to emulate. More on this as soon as life allows...

The Three Incestuous Sisters is a picture book by Audrey Niffenegger. I loved The Time Traveller's Wife and have her next one on my pile of imminent reads. This is a twisted, gothy story that reminded me a bit of Tim Burton's melancholy tales and also Edward Gorey. Strange and broken and haunting, it echoes with some of my Real Life. And also, there are goth girls without any clothes on.

Friday, June 25, 2010

A few things

Back from holiday and birthday shenanigans. Will write up our trip to Malta soon, and also some notes I made on The Gift by Lewis Hyde, which m'colleague Ben was kind enough to supply me. Have some rewrites to do first.

At 13.15 on Thursday 1 July, I'll be giving a free talk at the National Portrait Gallery, “Portraits in Time and Space” on 10 people in the gallery's collection that Doctor Who has met on screen.

Also, I wrote the writing bits of Houses of History, a history of the Palace of Westminster and parliamentary democracy aimed at school kids, for the Parliament website. (See also the Cimex website for more on the project.) It works best if you view it full screen and have your sound on.

And here's a sterling defence of Hansard, what I also sometimes do bits of work for.

Friday, June 11, 2010

Sleep is for tortoises

Hello. Haven't died, at least not yet. But having been nail-bitingly desperate for work just a few weeks ago I'm now nail-bitingly busy.

Tomorrow, though, I'll be at Alt.Fiction in Derby with plenty of my writing chums. Do say hello if you're there.

And on Thursday I'm off to Malta for an actual proper holiday with the Dr, the first time we've been away where neither of us are working or seeing family since, er, September. That is very exciting and also the far side of some pressing deadlines. Yikes.

Thursday, June 03, 2010

My Blake's 7 plays on iPlayer

My two Blake's 7 plays are now available for free on the BBC's iPlayer - The Dust Run (6 days left to listen) and The Trial (7 days left to listen).

The two episodes see space pilot Jenna Stannis (Carrie Dobro) growing up, falling for the wrong boy and getting in trouble with the Federation - just in time to meet Roj Blake. Benedict Cumberbatch plays Townsend and Stephen Lord plays Max.

The broadcast versions are slightly shorter than the version you can buy.

Monday, May 31, 2010

Books finished, May 2010

Books I finished in May 2010
I've already blogged about Doctor No. I reread The Mythological Dimensions of Doctor Who - for which I wrote a foreword - in advance of being on a panel at the launch last week. (I've also skimmed through a PDF of Daddy's Girl by Deborah Watling, in advance of interviewing her a fortnight ago at Utopia.)

Roald Dahl is keen to explain upfront that Boy is "not an autobiography", but rather a series of vivid memories that made an impression on him. This first volume sees him up to leaving school, and is full of the kind of hi-jinks we'd expect from his fictional stories. There are beastly teachers and grown-ups, outrageous (and cruel) pranks like putting a dead mouse in a jar of sweets or making his brother-in-law smoke a pipe of poo.

The book is aided by extracts from Dahl's own letters, meticulously kept by his mother. We get glimpses of the rather serious child, struggling with spelling and the expectations of his posh school. There are plenty of insights into corporal punishment and the etiquette of the tuck box.

It's a fun, engaging read but there's little to suggest Dahl has particularly re-examined these scenes. There's little reappraisal or apology, so that though we learn a lot about the early life of the author, there's no sense that, in writing this, he has.

Going Solo - which I'd not read before - is an altogether more adult book, and I think would have shocked me as a child. Dahl joins Shell and is posted out to Africa, where he lives a rather comfy existence with servants (or "boys" - he doesn't notice the irony of his own nickname) before the outbreak of war.

The episodes are a lot more vicious than the innocence of Boy, with a man being shot in the face right in front of him and his servant murdering a German. As always, Dahl is good on vivid detail, and the book is again littered with extracts from his original letters and also from his log book.

There's a lot on Dahl the pilot, flying in the 1941 Battle of Athens and barely surviving a crash in Egypt. Writing decades after the events, he's still furious about the poor management of the air force and the ghastly waste of lives. Characters are introduced quickly and are then abruptly shot down. While Dahl never shies away from telling us he was a brilliant flyer, he also admits repeatedly that he only got through it by luck.

The book ends with Dahl sent back to England in the summer of 1941, the persistent headaches following his crash invaliding him out of service. It's frustrating to leave it there with so much more still to tell, and I assume there'd have been at least a third volume if Dahl had only lived. With a birthday looming I've set the Dr to find me a good biography so I can find out what happened next (and how much of the story Dahl's already told me can be considered true).
"The achievements of great men always escape final assessment. Succeeding generations feel bound to reinterpret their work. For the Victorians, Morris was above all a poet. For many today he is a forerunner of contemporary design. Tomorrow may remember him best as a social and moral critic of capitalism and a pioneer of a society of equality."

Graeme Shankland, "William Morris - Designer", in News From Nowhere and Selected Writings And Designs (ed. Asa Briggs).

Shankland's introduction to a short supplement on Morris the designer underlines the emphasis of this odd collection. The first 180 pages comprise letters, lectures and reflections in which Morris puts forward socialist ideas, plus some pretty uninspiring poetry and hymns with which to entertain the workers. Though the sentiments are noble, there's little of great wit or insight, and I couldn't help feeling I'd read this kind of thing better put by other people.

Shankland's short supplement addresses the extraordinary design work, with 24 photographic plates that, being in black and white, don't quite show the sumptuous richness of the man's achievements. Vibrant and heavy, Morris's stuff is from an age of large rooms with high ceilings before the anti-chintz mandate of Ikea. Even in their own time they were retro, harking back to a pre-industrial, hand-crafted age.

Being so woefully impractical myself, I view Morris with considerable envy. (The Dr is also a great fan, so I live with a fair bit of his wallpaper.) He willfully embraces a romantic myth of England's past in his subjects, and believes in good and practical design. His infamous quotation to "have nothing in your home that is neither beautiful nor useful” is a rejection of Victorian tat and ornament but is all the more relevant in our jostling flats and apartments. Ikea might have extolled us to chuck out the chintz, but it's elegant, uncluttered and socialist use of space is not a million miles from his.

The main meat of the book, though, is a maddeningly abridged News From Nowhere, the science-fiction tract about a man from 1890 popping to the 21st Century. It's largely a chance to explore a sunshiney, communist idyll, where dustmen wear gold clothes, the Palace of Westminster is used for storing manure and crime and ugly children no longer exist. There's equality between the sexes and a minimum wage.

It'd difficult reading this idealised parable without comparing it to the practical examples of Communism that existed in the 20th Century. As in Child 44, the dogma that socialism will rid the world of crime merely meant crimes were ignored or brushed under the carpet, and the abuses of the capitalist system were replaced by abuses of different kinds. We keep being told it's like something out of the 14th Century, too, which hardly makes it sound inviting.

There are some fascinating things in Morris' vision, though. London seems comfortably multiracial in this future:
"Within [the shop] were a couple of children - a brown-skinned boy of about twelve, who sat reading a book, and a pretty little girl of about a year older, who was sitting also reading behind the counter; they were obviously brother and sister."

Morris, William, "News From Nowhere And Selected Writings And Designs", p. 212.

(Yes, I appreciate that the boy might just be tanned from lots of time playing outside, but that's not quite how it reads today.)

There's free love and yet with the propriety of marriage (a young couple have been married, she's then married someone else, and now they're getting back together). People are prettier and seem younger than they would in 1890 as a result of better living conditions (something that turns out to be true).

There are also odd things: quarrels between lovers leading to death is not uncommon in this paradise. They still use whips to drive their horses, and it's weird reading of,
"the natural and necessary pains which the mother must go through [in childbirth, that] form a bond of union between man and woman".

Ibid., p. 235.

Mostly, the book is taken up by a long dialogue between our Victorian traveller and an ancient man who knows his 20th Century history, explaining some of the changes. For all its aping the style of Plato's Republic, this is really a monologue setting out the vision of a cheery future.

And, then at the end of this lengthy interview, this edition skips to the end:
"[Chapters 19 to 32 describe Morris's journey up the River Thames past Hampton Court and Runnymede, the characters he met and the sights he saw. The book ends with a feast at Kelmscott and his sudden return from utopia to the nineteenth century, from the world of 'joyous, beautiful people' to the 'dirt and rags' of his own time. He ends with these reflections.]"

Ibid., p. 300.

It's like deciding to publish 1984 but only with the excerpts from The Theory and Practice of Oligarchical Collectivism, and none of that boring stuff between Winston and Julia. This edition could easily have included the whole unabridged text, making room for it by excising the selected other writings. You can't hope to convince us of the importance of Morris's utopian vision by such brazen selective quotation.