Doctor Who Magazine 542

The new issue of Doctor Who Magazine is out in shops tomorrow. I've written the preview of the Season 23 Blu-ray box set, comprising the 14 episodes of The Trial of a Time Lord (1986). It's Doctor Who's longest ever story, made at a time of great crisis in the show's history. But the new extras I've seen are full of mischief and fun.

For the preview, I spoke to Russell Minton (head of international production consultancy at BBC Studios, and the person in charge of these box sets), Chris Chapman (director of three new documentaries on the set) and Dr Matthew Sweet (interviewer). Matthew tells me that he begins the research for his in-depth interviews on these box sets by immersing himself in "Pixleyana" - a phrase I shall now adopt - and explains why he thinks Bonnie Langford long ago passed into "the realm of the symbolic".

I'm a Joke and So Are You, by Robin Ince

Subtitled "A comedians' take on what makes us human", this is an intelligent ramble through the psychology of stand-up, and by extension creativity in general. Robin undergoes brain scans, talks to scientists and fellow comedians, and opens up about his own life and experience.

There's plenty of science-of... stuff I found interesting: the notion of Wittgenstein's lion - "if a lion could speak, we could not understand him" - or how being good at Just a Minute appears in your brain. In one chapter, Robin explores an old canard I had heard before, that many successful comedians experienced some kind of trauma as children, such as the death of a parent. He speaks to those of whom that is true, and to other comedians who were adopted or suffered different kinds of trauma. With that in mind, he also explores the impact of traumatic moments in his own life - a car crash he was involved in as a small child that almost killed his mum, or the effect of changing school. Then, just as he seems to be on to something with all of this, he completely undercuts the hypothesis with examples of comedians whose work comes from a childhood of happiness and encouragement. If the conclusion, then, is that there's no simple answer, it prompted this listener to think about how and why I do what I do.

Chapters address the cliche of the "sad clown", the issue of causing offence, the anxieties of both performer and audience. The final chapter addresses death, specifically that of Robin's mother and how it impacted his work. It's agonisingly honest and upsetting, and with a start I realised I'd been a witness to some of what's described, as a panelist on the 2015 Christmas special of The Infinite Monkey Cage. At the time, I didn't know what was going on - Robin was clearly unwell at the recording and had to rush off immediately afterwards. With typical courtesy, and the same freelancer fear of letting other people down he describes here, he emailed me later to apologise. 

Having experienced my own share of trauma, I really get his need to keep busy through this period, to use work both to escape the awful reality and then to make some kind of sense of it. I admire the way he tells us so much so honestly and then won't go any further - only sharing so much. He talks about how his job, his mining real life for comedy, can strain relationships when something like this happens - his own acknowledgement and the fear from people round him that this is all raw material. This is difficult and profound, and Robin concludes - with an example of another comedian's response to his own terminally ill father - that means we end on a note of optimism. But it's not so neat or simple as that, and I remain thinking...

Northern Lights, by Philip Pullman

After the success of The Book of Dust, we tried Audible's version of Northern Lights for some long journeys - and were enraptured.

Author Philip Pullman reads the story but the dialogue if performed by actors. I've experienced this book in a number of formats - reading it myself, watching the two-part play at the National Theatre, listening to the BBC radio version and watching the film. The audiobook retains the rich and vivid description missed from most adaptations and gets into characters' heads.

It's a dense, rich story full of arcane language but the story is thrillingly exciting, full of perilous dangers and set in a fantasy world that feels utterly, scarily real. The Lord of Chaos sat beside me in rapt silence as the hours unfolded.

The production is directed by Garrick Hagon - who I obviously know from his roles in Star Wars and Doctor Who. There's another Who connection: Joanna Wyatt plays 12 year-old Lyra, though once it struck me that she sounded a bit like Camille Coduri I found myself imagining Jackie Tyler organising battles between polar bears.

I'm very much looking forward to the TV version, and to the next two Audible versions in this trilogy, and to the next Book of Dust.

Doctor Who: The Target Storybook

I have a story in Doctor Who: The Target Storybook, a new anthology to be published in October with an amazing cover by Anthony Dry. The blurb goes like this:

"We’re all stories in the end…
In this exciting collection you’ll find all-new stories spinning off from some of your favourite Doctor Who moments across the history of the series. Learn what happened next, what went on before, and what occurred off-screen in an inventive selection of sequels, side-trips, foreshadowings and first-hand accounts – and look forward too, with a brand new adventure for the Thirteenth Doctor.
Each story expands in thrilling ways upon aspects of Doctor Who’s enduring legend. With contributions from show luminaries past and present – including Colin Baker, Matthew Waterhouse, Vinay Patel, Joy Wilkinson and Terrance Dicks – The Target Storybook is a once-in-a-lifetime tour around the wonders of the Whoniverse."

The authors are: Colin Baker, Steve Cole, Jenny T Colgan, Susie Day, Terrance Dicks, Simon Guerrier, George Mann, Una McCormack, Vinay Patel, Jacqueline Rayner, Beverley Sanford, Matthew Sweet, Mike Tucker, Matthew Waterhouse and Joy Wilkinson.

Doctor Who Magazine special on Target books

This special edition of Doctor Who Magazine covers the Target novelisations and their proustian delights, and is in shops now. It's full of stuff I didn't know, plus lots about the greatest book related to the series ever - Terrance Dicks's The Doctor Who Monster Book (1975).

I'm also in it, speaking to magnificent Marc Platt about novelising his own TV serial, Ghost Light, and then novelising one by a friend - Battlefield, the scripts of which had been written by Ben Aaronovitch.

Last week, I listened to the audiobook of Doctor Who - The Invasion - one of my favourites of the Target series. This special has made me want to seek out more.

15 years of The Coup

Fifteen years ago today, on the hot, sunny morning of Saturday, 7 August 2004, I followed a print-out from Streetmap round the back of the Academy in Brixton to a tiny cul-de-sac, Moat Place. It was my first visit to Moat Studios, for the recording of my audio play, The Coup - the first of more than 60 I've since written for Big Finish.

The Coup is available for free from the Big Finish website.

In August 2004, I'd been freelance for two years and Big Finish had published six of my short Doctor Who stories. The third of these, "An Overture Too Early", had been a last-minute replacement for someone who'd had to drop out. As a result, I got more work when things fell through or needed doing quick. Assistant producer Ian Farrington also liked the way I'd written the long-established character of Brigadier Lethbridge-Stewart.

Ian was producing a Doctor Who spin-off series about UNIT, the army division that investigates weird goings on and then blows them up. He told me this series would be set in the present day with an all-new cast of characters, influenced by the then hip TV shows 24 and The West Wing. But he also wanted the Brigadier to feature in two episodes - the "pilot" episode to be given away free on a CD with Doctor Who Magazine to lure in the punters, and in the final episode of the series. I slowly realised he was suggesting I write the former.

With writers Iain McLaughlin and Claire Bartlett, Ian had devised an arc story about a rival organisation to UNIT, and he was also keen on using a character from a previous Big Finish play - Colonel Brimmicombe-Wood, played by a then up and coming actor called David Tennant. Brimmicombe-Wood had been created by writer Jonathan Clements, so Ian brought him on board too, as well as our friend Joseph Lidster. Between us, we emailed ideas back and forth and the UNIT series took shape.

CJ in The West Wing inspired our lead character, Emily Chaudhry - I borrowed the surname from an old friend of mine who I'd recently got back in touch with. Doctor Who on TV had established that UNIT covered up evidence of alien invasions, so the idea was that the cool, unflappable Emily would be the one they put in front of the cameras to give high quality bullshit. I named other characters - French, Ledger and Winnington - after old friends I'd lost contact with but who'd been into Doctor Who. There was a chance, I thought, they'd still be reading DWM - and two of them were and subsequently got in touch.

Ian and Iain gave me elements to work into my story - such as all the details about this new rival organisation to UNIT - and Ian was keen that my pilot episode should include an old monster from the TV show as an added sell. The Silurians were his suggestion. Otherwise, the plot was left up to me.

Previous CDs given away with DWM had offered small-scale comic vignettes, side-steps rather than full-on adventures. I suggested doing something bigger and more like an action movie. What crisis might flap the unflappable Chaudhry, I thought. What about if UNIT were outed and finally had to admit to the existence of aliens? That seemed to match Ian's desire to take his UNIT series somewhere new and unexpected, and the other writers seemed to agree - or, at least, not object.

So I got on with writing my episode, starting with a Silurian/UNIT battle at Potters Fields by Tower Bridge. That's the location of City Hall - as if the Silurians are attacking the Mayor of London. I chose it because Tower Bridge is a well-known landmark the listener would be able to visualise, and because I'd passed through Potters Fields each day for months on my way to work.

Writer Jonathan Morris had provided very useful notes on my first few short stories so I sent my first draft script to him, and to my friends David Darlington and Robert Dick. They all said much the same thing - that I needed to cut down my dialogue to make it pacier and more exciting. The result was that I cut back the long speeches but didn't replace it with more scenes, so the play ended up running shorter than the 25 minutes requested. I don't think I even knew then the rough word count of 4,500 words for that length of time - my version is just 3,761 words. My stage directions aren't specific enough, and there are two long speeches that have people talking over them but contain information the listener shouldn't miss. (I've included the Brigadier's full speech below.) I look back on the script now in horror at my greenness.

The version of the script I've got is dated 6 June 2004, a clean copy without notes or revisions. There were plenty of changes needed to get it to this point, but I can't remember what they were. I remember Ian being very patient and encouraging.

(ETA: Jonny Morris has kept my first draft, from 30 April 2004, which I sent to him, Matthew Griffiths, Robert Dick, Ben Woodhams and Peter Anghelides for comment. It is just over 4,000 words long - and doesn't include Orgath's speech as an appendix at the end as the later version does. Which means I cut about 1,000 words from this version!)

So, on 7 August I arrived at the studio. They'd already recorded some of the UNIT series proper that week, the series regulars established, the pronunciation of names fixed. Ian was directing my story, and I mostly sat in the background being overwhelmed. My friend Scott Andrews, who I'd written a small role for, was brave enough to ask Nicholas Courtney - the actor who played the Brigadier - if he was going to be in the new TV version of Doctor Who, the one with Christopher Eccleston which had started filming just a couple of weeks before. Nick told us he hadn't heard anything and modestly suggested he was no one important. He then asked me why, in my story, the Brigadier had a knighthood. I told him that after all the times he'd saved the Earth he deserved it, and he was rather taken by that. He asked about the origin of my surname, and got interested when Scott mentioned I'd just started freelancing for the House of Lords. We gamely discussed a new story, about the noble and gallant Lord, Lord Lethbridge-Stewart. Perhaps he'd be defending aliens from humans...

In those days, it was rare to have a camera on your mobile phone so there were no selfies. I don't remember anyone taking photographs for publicity - I think they covered the UNIT series on other recording days. Besides, we were on a tight schedule. Looking back, I realise Nick made a point of finding time to talk to me and Scott.

Otherwise, I remember just being awe-struck by the cast, and wishing I'd given the brilliant Sara Carver a bit more to do as Winnington. We finished at lunch-time and while the cast went to the pub - in the days before Big Finish started providing its own infamous lunches - I had to rush off to Bristol for my cousin's wedding. By coincidence, the friend I'd named Currie after was putting me up for the night.

The Coup was issued with DWM #351 in December 2004. Davy Darlington worked wonders with the sound design and reviews - as much as I dared to look - seemed positive. Having delivered my pilot episode I was no longer involved in the production of the UNIT series but Ian sent me the CDs as they were released, so I found out what happened after all I'd set up. In January I was commissioned for a second Big Finish play, The Lost Museum, which was recorded in March.

Around this time, I was passing through Charing Cross station when someone shouted at me. "You!" said Nicholas Courtney. "You have a French name." I went over and said hello, and Nick told me he was on his way to the pub to meet Tom Baker. He asked if I'd like to join them. It was mid-morning and I was on my way to a freelance job, and anyway I thought I'd never survive a day in the pub with those two. Really, I was just in shock. I asked where they'd be and said I'd look in during my lunch hour. I did, and they weren't there.

On 23 April, Nick Courtney appeared on Doctor Who Confidential and suggested that the Brigadier might now be in the House of Lords. I emailed Ian a few days later, referring to this and suggesting a Lord Lethbridge-Stewart story for the second series of UNIT - should it happen. I had the bare bones of a plot, too. "We'll see..." said Ian, cryptically - already knowing that the chances were slim of doing more with his version of UNIT, what with David Tennant having just been cast in another role...

There wasn't a second series of UNIT, and despite my best efforts no one else took up my Lord Lethbridge-Stewart story. But when Nick Courtney was invited to reprise his role on TV, in 2008's Enemy of the Bane, the Brigadier retained his knighthood.

APPENDIX 1: BRIGADIER’S SPEECH IN FULL:

For purposes of rehearsing it and as background in Scenes 18, 20 and 22.

I doubt many of you have any idea who I am. That is just as it should be. Because of the nature of my former work, I’m not allowed to tell you either. 

This country has often been faced with threats, with enemies. The forces assigned to counter those threats have been, necessarily, covert.

Though we cannot divulge details of the work we do, we are accountable. In my time as head of the UK arm of UNIT, I reported directly to the Prime Minister. That probably explains the knighthood.

Even though they do not have access to the details that we supply the Government, the general public may still know of UNIT, and have some understanding of our security remit. 

As a result, significant changes such as those taking place today, need to be explained, if only to allay public concern. That is why I have been called in. 

Change is good. UNIT has always known that. I hope ICIS will also be able to remember that. And to forgive me, now, for stealing their thunder. 

UNIT was formed to investigate extra-terrestrial phenomenon. 

In nearly forty years, it has been directly responsible for preventing more than 200 attacks by alien beings. Axons, Cybermen, Zygons, Quarks…

As a part of the United Nations, UNIT was not representing individual states or nations when it repelled these attacks. It represented humanity as a whole. 

Now we’ve made contact with a species who don’t want to conquer the Earth. They want to forge diplomatic links. They’re not even from outer space.

It is therefore my considerable honour to introduce Ambassador Orgath of the Silurian people. Ambassador?

Book Parts, eds. Dennis Duncan and Adam Smyth

This is a comprehensive study of the bits of a book that surround the main text - the "paratext" of (to list them): introductions; dust jackets; frontispieces; title pages; imprints, imprimaturs, and copyright pages; tables of contents; addresses to the reader; acknowledgements and dedications; printers' ornaments and flowers; character lists; page numbers, signatures, and catchwords; chapter heads; epigraphs; stage directions; running titles; woodcuts; engravings; footnotes; errata lists; indexes; endleaves; and blurbs.

Much of this study of paratexts is metatextual. Several chapter headings are arranged to reflect their content, such as the errors corrected in the one for "Errata lists". Other chapters do similar in their texts, such as when "Addresses to the reader" talks to us directly. There's a lot of history - the book, publishing, laws pertaining to copyright - and it is nerdishly fascinating, teasing out the evolution of elements we so often take for granted.

Almost immediately, I delighted in the synonyms given for "Introduction":

"Prologue, dedicatory epistle, preface, textual note, address to the reader, isagoge, proem, preamble, exordium" (p. 6)

Over the page and there's another, as we're told of Alfred the Great's,

"preface - or fore-spræc; fore-speech - to be included before his own translation of Pope Gregory's Pastoral Care" (p. 8).

Or there's the three books that, to dodge punishments for printing dangerous ideas, claim in thier indicia to have been published in Utopia:

"Godwin, Nuncius inanimatus (1629), STC 11944, Folger Shakespeare Library ... John Taylor's Odcombs complaint (1613), STC 23780 and A copie of quaeries, or a comment upon the life and actions of the grand tyrant and his accomplices (1659)." 

(I'm giving a talk on dystopia next week, for which this is perfect!)

There's something thrilling about the detective work described on p. 119 in spotting the same decorative fleuron printing blocks used in different books, which can be used to identify the same printer (who might be named in one volume but not another). It's even possible to spot the aging of blocks from one volume to another, and to use the number of so-called "wormholes" eaten into them by beetles to build up a chronology - the more holes eaten, the later the block was used. In fact, southern European beetles make bigger holes than their northern counterparts, so the location of the printer can also be deduced! (This, a footnote tells us, comes from S Blair Hedges' brilliantly titled, "Wormholes Record Species History in Space and Time", Biology Letters 9 (2013).)

Tiffany Stern's chapter on "Stage directions" also captivated me. She argues that the directions in book versions of plays published in the time of Shakespeare were rarely the work of the playwrights, and can even contradict dialogue. There's stuff about the way stage directions can often be for the benefit of the reader rather than for staging the production - directions that can't be acted but which add colour and character. I'm fascinated by the actors cited who were schooled to always ignore the directions, and Samuel Beckett's efforts to insist that his were adhered to.

I find myself reaching for the next book to read, scouring it for its paratext to better understand its context.

Doctor Who: The Invasion, by Ian Marter

Driving up to Blackpool to collect the wife and children this week, I listened to the audiobook of Doctor Who: The Invasion, a book I loved so much as a kid that I borrowed it several times from Winchester Library. David Troughton is a brilliant choice of narrator, with Nick Briggs providing authentic Cyber voices.

I’ve looked it up, and that book was originally published on 10 October 1985, not quite 17 years after the TV version was broadcast. It was a window on to ancient history – Doctor Who from before even my elder brother and sister had watched it, so old it had been in black and white. Of course, this was also the closest I ever thought I’d come to seeing the episodes themselves. I’d not yet seen any old Doctor Who on video and there’d been just a handful of repeats on TV. But I knew the photo of the Cybermen outside St Paul’ Cathedral from the Doctor Who Monster Book, and remember the vivid thrill of realising this was that story.

Other bits of the book stuck fast in my memory: the ongoing joke where the Doctor mixes up radio etiquette, or Isobel writing notes on her wall because its harder to lose than a scrap of paper. I’m struck now how much Isobel and Zoe vanish from the first half of the story, their insistence on being involved in the second half feeling a little too late. I also liked Ian Marter’s invention of the Russian rocket base (named after Nicholas Courtney) and the collaboration between US and USSR that’s needed to stop the invasion.

That said, it’s striking how much the novelisation lacks in context of other Doctor Who. How strange to begin with a hanging reference to one of the most extraordinary moments in the series ever, without ever explaining:

“The disintegration of the TARDIS in their previous adventure had been a horrifying experience,” (p. 8.) 

The novelisation of that previous adventure, The Mind Robber, was not published until 1987 (I never read it, and watched the TV repeat in 1992 with no idea what was about to happen). We’re not told, either, in what context Jamie and Zoe have both met the Cybermen before – for the latter, The Wheel in Space wasn’t published until 1988 – or that Zoe hasn’t already met Lethbridge Stewart.

There’s something strange, too, about referring to this Doctor as “the dapper Time Lord” (p. 11). Dapper isn’t right for this scruffy vagabond of time, and we didn’t learn that he’s a Time Lord until four stories later. (There’s also something odd about referring to him like that anyway, wrote this human.)

Ian Marter is also profligate with adverbs and often he tells us how dialogue is spoken – tersely or sarcastically, gasped or panted – when the words spoken tell us implicitly. But the main thing is how violent this version is.

“The Cyberman’s laser unit emitted a series of blinding flashes and Packer’s body seemed to alternate from positive to negative in the blistering discharge. His uniform erupted into flames and his exposed skin crinkled and fused like melted toffee papers.” (p. 145)

If nothing else, Jamie wouldn’t be able to rob the dead Packer of his jacket, which he then wears in The War Games.

(Actor Frazer Hines tells me about that in the Jamie and Second Doctor set from the Doctor Who Figurine Collection.)

Chernobyl

I've finally caught up with the amazing HBO/Sky mini-series Chernobyl, a gruelling experience because the horror is so perfectly executed. No wonder it's up for all of the awards.

Everything about it - the writing, the realisation - is absolutely right. But I especially like The Chernobyl Podcast that accompanies each episode, in which writer Craig Mazin explains to host Peter Segal how much of what we're watching comes from primary sources or dramatic licence. It's full of insight into the real history, including more about the real people involved. But it's also fascinating to hear how judgments were made in the story-telling: what events and relationships to omit (such as Legasov's family) and how much of the stomach-churning detail to actually show.

I'd dearly love more of this: episode-by-episode interviews with the director Johan Renck, produce Sanne Wohlenberg or costume designer Odile Dicks-Mireaux on how you make this history, this whole world, so convincing. And I'd love it done for other drama based in real history: Russell T Davies on A Very English Scandal; Sally Wainwright on Gentleman Jack.

Old Baggage, by Lissa Evans

This glorious, funny, wise and sad novel had me utterly enthralled. It's the tale of two former Suffragettes in the late 1920s, the past catching up on them as - among other things - they attend the funeral of Emmeline Pankhurst and finally get to vote. There's so much misery and injustice, and the Fascists are gaining ground, but these women are determined to fight.

It's a rare thing indeed to have a story about older women, neither of them perfect, both of them so real. They are fallible and fail, but we are with them devotedly as they struggle on. In the superb opening scene, 50-something ex-militant Mattie Simpkin has her handbag stolen, grabs a miniature of whisky and hurls it with perfect aim at the thief.

"The slope was in her favour; the missile maintained its height, kept its trajectory, and she was able to feel a split second of wondering pride in an unlost skill before a red-headed girl ran, laughing, from behind the booth, dodged round the thief and received the bottle full in the mouth." (p. 7) 

Real history is deftly threaded through this comic stuff. Mattie gives lectures on the history of the Suffragette movement, which helps (a little cheatingly) to explain the context. But some of the most striking moments are those things Mattie can't allow herself to say, such as why, years ago, she turned down her great friend Arthur Pomeroy when he proposed: 

"For she would never have wanted him to know, for her, a husband would have required not only steadfast kindliness but actual brilliance, or a rare magnetism; her brothers had spoiled her for more ordinary men. And neither did she choose to share the reason that underpinned it all - a kind of horror at the idea of standing still, of choosing a single existence, as if life were a sprint across quicksand and stasis meant a slow extinction. Long ago, as a child in a pinched and stifled century, she had seen her own mother gradually disappear." (p. 85.) 

The last section of the book is especially moving. Without spoiling the details, one woman has behaved badly and is abandoned and forlorn. Her efforts to make some kind of amends, to reach out again and say sorry, are all rebuffed or - worse - simply ignored. And then someone we've barely glimpsed in the story makes an offer of astonishing generosity that quite took my breath away. An act of kindness can change everything.

What follows is no less emotional, as a woman is left to care for two characters in turn, one of them well beyond the end of this book (as the blurb for Crooked Heart makes plain.) So much of it is conveyed so deftly, so concisely. When the boy Noel repeats something he's been told a few pages earlier - that a castle is also a rook - we recognise his intelligence, and more importantly his potential. When we're told no one came to visit him at the Barnet Hosptial for Incurables, it tells us all we need to know about his father's wretched family, and we need no further persuasion about the course of action that's been set.

Quite often, it's almost a pity when a book ends with an ad for the next book in the series. Here, it's a relief. Old Baggage is fantastic.

Doctor Who Magazine 541

"Four Doctors... Forty-three episodes... One groundbreaking director". The new issue of Doctor Who Magazine boasts hidden treasures from the archive of director Chistopher Barry. I interviewed fellow director Michael E Briant and writer Marc Platt about their memories of working with him.

11 Explorations into Life on Earth, by Helen Scales

This beautifully packaged anthology summarises 11 Christmas lectures from the Royal Institution covering aspects of natural history. The lectures are:

• "The Childhood of Animals" by Sir Peter Chalmers Mitchell (1911)
• "The Haunts of Life" by John Arthur Thompson (1920)
• "Concerning the Habits of Insects" by Francis Balfour-Browne (1924)
• "Rare Animals and the Disappearance of Wild Life" by Sir Julian Huxley (1937)
• "How Animals Move" by Sir James Gray (1951)
• "Animal Behaviour" by Desmond Morris (1964)
• "The Language of Animals" by Sir David Attenborough (1973)
• "Growing Up in the Universe" by Richard Dawkins (1991)
• "The History in Our Bones" by Simon Conway Morris (1996)
• "To the End of the Earth: Surviving Antarctic Extremes" by Lloyd Peck (2004)
• "The 300-million-year War" by Sue Hartley (2009)

Scales recounts the lectures, provides updates on some of the science and speaks to some of those who gave or attended the lectures. There are also a few photos and other archive documents.

The Christmas lectures are aimed at a lay audience including children, and there's lots on how children were involved in helping with the demonstrations or responded with excitement and awe. Last year I read Eric Laithwaite's book version of his 1966-67 lectures, The Engineer in Wonderland, and some of the physics was a bit heavy going. Scales is good at making the science here engaging and digestable, for all it covers a great deal of ground.

(In March, Doctor Who Magazine #536 included my feature on how Laithwaite's lectures were inspired by his meeting with Doctor Who story editor Gerry Davis about potentially becoming the series' first scienctific advisor.)

The lectures are fascinating historically: we see how long scientists have been warning about damage to the environment. They're also peppered with extraordinary detail about the natural world. For example, we're told Balfour-Browne was so devoted to water beetles that there's now an international water beetle conservation trust in his name. But when he shares his interest with the child audience, it's like something out of a horror film. First, he had recovered specimens hibernating in mud:

"When the beetles woke up in March, he watched the females drill holes in water plants to lay their eggs, which in time hatched into voracious larvae. The larvae grab prey in their formidable jaws, inject them with digestive enzymes and suck the juices out through tubes in their / mouths, leaving just their prey's empty, crumpled skin. He [Balfour-Browne] gave a graphic description of the greater silver beetle, a species with specialized jaws that act as a can opener to break into the shells of pond snails. And great diving bettle larvae are cannibals, he says, that 'have no respect for one another and four placed in a large tub were quickly reduced to one'." (pp. 48-9, the quotation from Balfour-Browne's own 1925 book of his lectures)

He also explains that wasps and bees can happily cohabit because they don't compete for food, the bees being herbivores and the wasps... well.

"Instead of pollen and honey, female wasps stock their nests with spiders, caterpillars and flies. The mothers sting and paralyse the prey to keep them alive and fresh, while making sure they can't walk off or fly away." (p. 42)

I had a ghoulish vision of vegetarian families turning a blind eye and affecting not to hear the endless screaming from next door.

The final entry in the book was of particular interest having just read Semiosis with its intelligent, communicative bamboo. Lecturer Sue Hartley details various different ways that plants fend off animal predators, and also communicate with one another to warn of impending danger.

"As well as talking to each other, plants also talk to animals. Wasps smell the plants' warning signals and fly in to investigate."

She demonstrates with a model of a caterpillar that threatens a particular plant - but inside the model there is,

"a handful of sticky goo and giant, model grubs. Inside the caterpillar, the wasp laid hundreds of eggs by piercing through its skin with a sharp egg-laying needle (called an ovipositor). The eggs then hatched and started eating". (p. 184)

Climate change threatens the balance in this long war between plants and animals. Hartley gives the example of aphids, who reproduce asexually - and a pregnant mother has a clone daughter inside her, who is already pregnant with her own clone child, "a system known as telescopic generations" (p. 186). Warmer conditions mean aphids reproduce even more quickly, so the predators that currently keep populations under control will no longer keep up.

"These aphids, she warns, are among the most dangerous pests, causing £100 million of damage to cereal crops every year ... If all [an individual aphid's] offspring survived, Hartley explains, there would be a layer of aphids covering the Earth 150 km deep, reaching half the way to the International Space Station." (p. 186)

 This is all the stuff of nightmares, and perfect for me as I continue to write stories with monsters.

Welt am Draht in the Lancet Psychiatry

The 1 August issue of medical journal the Lancet Psychiatry includes "Cryin', talkin', sleepin', walkin living dolls" - my review of Welt am Draht (World on a Wire), the 1973 sci-fi TV series directed by Rainer Werner Fassbinder and recently reissued on Blu-ray.

“I've been observing Stiller for some time very closely”, says pipe-smoking psychologist Dr Franz Hahn (Wolfgang Schenck) in the second episode of Welt am Draht (World on a Wire), first broadcast on West German television in 1973. “He's suffering from a case of acute paranoia. He's an extreme example of psychological degeneration. He is in so many words…not responsible for his actions.” Fred Stiller (Klaus Löwitsch) sits across from him, and doubts anything in the room is even real. The cigarette his boss is smoking or the chair in which he sits is, says Stiller, an idea of an idea of an idea...

Cinema Limbo on King Kong (1976)

A huge, confused ape wrestles with King Kong. Reader, that ape is me...

The Cinema Limbo podcast re-evaluates old films, and host Jeremy Phillips asked me to discuss the 1976 remake of King Kong. You can listen to our extended rambling here:

http://www.podnose.com/cinema-limbo/068-king-kong

Frankenstein in Baghdad, by Ahmed Saadawi

In the chaos of war-torn Iraq, even claiming the body of dead loved one is difficult. Hadi, a junk dealer, collects scraps of different corpses and stiches them together into a single body in the hope - he claims - that it might have a proper and dignified burial. But the patchwork figure is then inhabited by the soul of another dead person, and animated by the longing of a mother for her long-vanished son. The creature awakes... and immediately seeks revenge on all those it has been murdered by.

Frankenstein in Baghdad is a shocking, often queasy read, Jonathan Wright's translation of Ahmed Saadawi's original Arabic full of visceral detail. It's not just the monstrous creature - the police routinely beat and torture suspects, gangs molest citizens, there is sectarian violence. And yet this is a black comedy, with an eye for the foibles of ordinary people.

One example is the dilemma faced by Mahmoud al-Sawadi, a young journalist, who once wrote a piece about a criminal called Mantis.

"The Mantis's brother had led a small gang that terrorized the locals until he was arrested and detained. The news of his arrest was greeted with great joy by many, including Mahmoud, who then wrote a newspaper article about the need to enforce the law against this criminal. He philosophized a little in the article, saying there were three types of justice - legal justice, divine justice and street justice - and that however long it takes, criminals must face one of them." (pp. 165-6)

This article earns Mahmoud esteem and praise, until the Mantis's brother is set free - another example of corrupt, incompetent policing in the novel. When a rival gang then kill the brother, it seems Mahmoud's philosophy is right - but Mantis has taken exception and Mahmoud must flee the town. Years later, Mahmoud considers returning home but is assured that he's still remembered.

"Don't come. Don't show your face. Stay where you are, for God's sake, unless you want the three forms of justice applied to you. Now the Mantis often talks about them, even on the radio. He's stolen your idea." (p. 169) 

The novel stitches together the strange and the mundane to create a whole of its own. I found it a little slow to get going, with too many characters I couldn't keep track of. But that's then its power: we get to know these people and their interweaving stories.

There's magic - in the old woman whose longing brings a patchwork corpse back to life, and the astrologers whose accurate predictions don't help them save themselves. There's the suggestion that this is all real, carefully researched and documented by the writer from primary sources. And at the end the different characters all reach some kind of closure, our last sight a principal figure curled up with a stray cat and apparently free of the anger that drove so much of the story. If it starts as a story about the ravages of war, the injustice and desire for revenge, it concludes with a sense of peace.

Incidentally, none of the three books I've read this week won the Clarke Award last night, which went to Tade Thompson's Rosewater, which looked great. I was at the ceremony and, as well as seeing lots of old friends, got to meet Aliya Whiteley, whose work I've admired for so long. Afterwards, we were escorted to the Ice Bar, which was cool.

Semiosis, by Sue Burke

Semiosis is, like Aliya Whiteley's The Loosening Skin, one of six contenders for the 2019 Clarke Award, to be announced this Wednesday. I'd hate to have to make the call between the two books (let alone the others) because Semiosis is excellent.

It charts the early history of an Earth colony on alien world over five generations and 107 years. Chapters are mostly told from the perspective of one colonist and then we jump a generation and learn, in passing, how that person died.

The first human settlers name the planet "Pax", and each chapter opens with a quote from their constitution, an effort to set out how they will go forward as Pacifists. Characters, too, discuss their efforts to meet the standards set by the original settlers:

"Only intelligent creatures also create civilization. Civilization creates the idea of peace as well as war, and makes both possible. I am a Pacifist. I have chosen the idea that I intend to make real." (p. 248).

For all the ideals, it's rarely very easy. There are accidents, sickness and worse. Some of it is pretty hard going - I'm especially susceptible to stuff about the death of a baby, and there's a battle towards the end that is as horrifying as it is compelling, characters ruthlessly despatched. One section is about the hunt for a serial killer. And yet on the whole this is, I think, a fantasy of integration, of making a success of weaving humanity into the strange fabric of another world that teems with strange and hostile life.

That life includes Stevland, a sentient plant who even narrates some of the story, runs for political office and converses with duplicituous orange trees. Stevland is ambitious and powerful, modifying the fruit it grows and the humans consume so they'll better serve its purpose. Unsurprisingly, some of the humans find this sinister and want to limit Stevland's reach - but the colony is also dependent on that very food.

The humans are also not the only non-native species: there's evidence of creatures the humans name Glassmakers. Again, we're not quite sure what to make of them or their intentions until very late in the story - and individuals don't all agree. The humans, too, are well drawn and distinct, conflicting personalities. A big part of the power of the book is how much we feel the loss of even people we've only met briefly.

I must admit I got to the end of the first, 33-page chapter feeling I'd seen this kind of new-colony stuff before, but Semiosis is something special. The title means signs - the production of meaning others are meant to understand. It's a treatise on how we communicate with others. Unlike so much of colony-in-space fiction, it's not about conquest or the triumph of will and science. The constant thread through the generations is negotiation, of speaking to your enemies to compromise and find peace. It's not always possible - there are terrible mistakes, and there is terrible malice. But the aspiration holds, and leaves the reader with hope.

Floating in Space repeat

This Saturday morning, Radio 4 Extra are repeating Floating in Space - a compendium of space-related programming presented by Samira Ahmed and featuring some chatter from me about the early days of spaceflight. The producer was Luke Doran.

On Tuesday, I was in the audience at Broadcasting House for the recording of James Burke: Our Man on the Moon, to be broadcast on Radio 4 on 20 July. It's full of great clips - many of them new to me - and Burke presented with characteristic insight, intelligence and wit. It's superb.

Black Archive: The Dalek Invasion of Earth, by Jonathan Morris

My friend Jonny's book on 1964 Doctor Who story The Dalek Invasion of Earth is excellent - and not only because its reference to my own book in the same Black Archive series says nice things. 

Jonny's focus is the development of the story - from initial idea, through first and final draft of the script, the changes made when it went before the TV cameras and then its adaptations on the big screen and in print. Thrillingly, he's managed to get hold of Terry Nation's first draft scripts - or copies held in private hands, since the originals are no longer held in the BBC's own archives - and a first draft of the script for the movie. The former is especially interesting, as comparison with the camera scripts (used when the story went in front of the cameras) reveals the extent of work contributed by story editor David Whitaker. The most astonishing insight - to me - is that writers were likely to only produce a single draft which Whitaker would then rewrite himself. No rewrites! It's another world!

It would be a shame to spoil any more of the gems here. It's a compelling, engaging original piece of research. Especially pleasingly, I'd hoped it might provide some context for a thing I'm writing about one of the characters in the story; it has loads.

Man on the Moon - the psychology of Apollo 11

My essay "Man on the Moon", about the psychology involved in landing the first people on the lunar surface 50 years ago this month, is published in the new issue of medical journal the Lancet Psychiatry.

You need to subscribe to read the whole thing, but here's the opening paragraph:

"In May 1960, Brooks Air Force Base in Texas (USA) hosted a symposium on psychophysiological aspects of space flight. The meeting aimed to present what was known about human behavioural capabilities in space and to recommend directions for further research. It was still relatively early days in the Space Race. The first human ventured into space the following April, and the first American human a month after that. Only then did the American president announce his ambitious plan to land people on the Moon and get them home safely by the end of the decade. But the delegates at the symposium looked boldly forward to the long-term conquest of space, even considering voyages lasting several thousand years..." ("Man on the Moon", Simon Guerrier, The Lancet Psychiatry, Vol. 6, No. 7, pp. 570–572. Published: July 2019.)

(I've another essay, "So What If It's All Green Cheese? The Moon on Screen", in the exhibition catalogue accompanying "The Moon" at Royal Museums Greenwich.)

The Loosening Skin, by Aliya Whiteley

One benefit of the Arthur C Clarke Award for best science-fiction novel of the year moving from April to July is that when the Dr asked what I might like for my birthday, I could direct her to the shortlist. The result, via my generous in-laws, was three of the six titles: Semiosis by Sue Burke, Frankenstein in Baghdad by Ahmed Saadawi and The Loosening Skin by Aliya Whiteley. (The other three are Revenant Gun by Yoon Ha Lee, The Electric State by Simon Stålenhag and Rosewater by Tade Thompson.)

Of these, I've only read work by Whiteley before. The Beauty (2014) is about a world without women and reads like walking through a nightmare, not least because the narrator is so passive. The Arrival of Missives (2016) is a similarly haunting tale, this time set in a village in the shadow of the First World War. Whiteley is brilliant at taking an outlandish, unsettling idea and playing it utterly credibly.

The Loosening Skin is set in the present day but in a world where humans moult. When, every seven years or so, they shed their skin, they also shed its associated love. At the start of the book, Rose is in a loving, tender relationship with a movie star she's also working for as a bodyguard. Then she sheds her skin and can no longer bear to be in the same room with him. But he's used to having whatever he wants and won't accept that.

As we follow this story, we explore the consequences of moulting. It doesn't just affect lovers - who know from their first kiss that they are doomed. When children moult, they no longer love their parents. This world is full of broken people, struggling with attachment, learning not to love so as to preserve something. Brilliantly, we're told humans have always been like this - which has a huge impact on history and culture. There can be no Miss Haversham in this reality, there can be no Last Tango in Halifax.

There's more than the moulting itself. There's a whole culture around the shed skins - displays of celebrity skins in the British Museum, an underground of illegal sales. Then there's the chance that there might be a cure, a way of preventing the moult - but, of course, at a terrible cost.

I got utterly caught up in this richly drawn, horrible world. It's such a disturbing idea and yet it feels so real. At one point, Rose talks us through her moults in turn, each one devastating. That tale-telling is itself part of a truly horrific episode that haunts the rest of the book. I found the novel haunting, and couldn't get it out of my head, but it's not the horrific moments that got me so much as the simple, everyday consequences that result from this one strange idea. There could easily be more stories set in the same world. I hope there are.