So I was very keen to see this movie when I read about it’s impending launch on Netflix in mid December 2020.
Kim had very kindly bought Janie a 6-month trial Netflix package earlier in the lockdown, which Janie switched on in order to see the mini-series around which Kim had designed her gift. After that, our usual reluctance to watch TV had switched in, so we had watched precisely nothing more on Netflix for just shy of six months.
So I knew we only had a few days left to watch this movie on our prepaid package before…horror of horrors…we might have had to actually pay to watch the thing, having not used our trial package for five-and-a-half months.
Anyway…
…watch it we did and extremely impressed with the performances I was.
All of the performances were very good indeed, but in particular Chadwick Boseman and Viola Davis were truly excellent.
Here is the official trailer for the movie:
In truth, it is a somewhat melodramatic play but it holds the attention because it shows an extraordinary moment in the history of music, plus the history of race and gender struggles in the USA, through the lens of a genuine early recording star in decline (Ma Rainey) and a fictional trumpeter whose direct experience of prejudice, racial violence and abuse set him on a tragic path.
Central to the play is the recording of Ma Rainey’s signature song, which you can hear here:
In short, I thought it was a superb movie and well worth seeing. Janie found the accents hard to follow and found the plot a bit basic, but did agree with me that we were watching outstanding performances, beautifully filmed.
This ThreadZoomMash is dedicated to the late Professor Mike Smith
Part One Introduction: Medieval Crushes
I chose the topic “crushes” by happenstance. Just before lockdown 2.0, while I was pondering my choice of topic, a couple of old friends and acquaintances, out of the blue, unprompted, confided in me about crushes they’d harboured when we were all a lot younger.
The topic of crushes resonated with me as a rich source of story telling.
Here is a song I am working on at the moment: Puis Que Je Suy Amoureux. A late 14th century song attributed to Richard Loqueville of Cambrai. Allow me to sing you the first verse and then translate it.
Since I am in love With you, gracious, gentle one, I never feel pain I am so blissfully joyful.
Thus I wish to continue dreaming Of serving you according to my design Since I am in love…
[Love gives to lovers Hope, sweet and pleasant. Now my heart is waiting For your gracious glance,] Since I am in love…
Translation by Asteria – below I have embedded their delightful, professional rendering of this beautiful song:
Part Two Introduction: Primary Crushes
It was not my intention to write a crush story myself. That is not normally the way with the role of ThreadMash curator. But events since I set the topic of crushes have led me to a memory flash of my very first crush.
Here’s the story of how the memory flash and that primary crush came about.
Very sadly, my friend and work colleague of more than 25 years, Professor Mike Smith, died suddenly and totally unexpectedly on 12 November. It was Mike who, six years ago, encouraged me to start playing the four-string guitar. Janie and I had formed a bond with Mike and his young family over the years.
On the last day of Lockdown 2.0, we went to Mike’s funeral. We learnt for the first time many things about Mike’s earlier life.
I knew that Mike originally came from Montgomery Alabama and I knew that Mike had very strong views against prejudice. But I didn’t know that, in the late 1960s, pint-sized Mike had tackled the racist bullies at Alabama State University, befriending black people and bravely taking on the segregationists.
I also didn’t know that, as a youngster, Mike had liked the song Red River Valley, which the celebrant at the funeral then duly played to the congregation of mourners.
At the sound of that song, I was transported back to the late 1960s myself, to when I was seven; thoughts of my fourth year primary school teacher, Miss Brown.
I loved her and she was clearly very fond of me. I did extremely well that year in school. Miss Brown introduced me to Tudor history, a subject that has fascinated me since. She encouraged my writing.
By the time you get to your fourth year of primary school, you have got used to the idea that you will move on to a different class with a different teacher the next academic year. But Miss Brown dropped a bombshell towards the end of the summer term that year; she was going to be leaving the school altogether.
I was devastated. I wasn’t merely going to be in another class. I wasn’t going to see her again. I felt abandoned.
That year, I had been given as a present a small collection of remaindered records, known as Beano Records. Most of the records are dramatised stories for children with famous English theatrical performers peppered with classical music to provide additional dramatic frisson to the stories. But one of the records, incongruously, is a collection of Cowboy Songs.
One of those cowboy songs is Red River Valley, which had caught my ear around the time I learnt that Miss Brown was to abandon me. I played that song over and over, wallowing in the sentiment of it. I became determined to learn Red River Valley and sing it to Miss Brown on the last day of school.
Eventually I told mum about my plan. Mum gently dissuaded me from that particular idea. I think she encouraged me instead to take a small gift together with a note of thanks and farewell to Miss Brown. I expect mum maintained strict editorial control over the content of the note.
With the benefit of hindsight, that might have been the one occasion in my life when mum’s intervention in my romantic ideals was unquestionably for the best.
There are many versions of Red River Valley, but one of the most charming verses (absent from the rather corny Beano recording, which you can hear through the sound file below)…
Red River Valley, performed by an uncredited “real Texas cowboy”
…is an unrequited love lyric, the third verse of the version I’m about to play. Very similar to the Puis Que Je Suy Amoureux unrequited love lyric, written some 500 years earlier.
It’s 50 years since I learnt, but didn’t sing, Red River Valley for Miss Brown.
It is now time.
It’s easy to play on the four string guitar, which Mike Smith encouraged me to play.
So, this rendition is for Miss Brown and for Mike Smith:
Red River Valley
Oh they say from this valley you’re leaving We will miss your bright eyes and sweet smile And they say that you’re taking the sunshine That has brightened our pathway a while
Won’t you think of the valley you’re leaving Oh how lonesome, how sad it will be And remember the Red River Valley And the grief that you’re causing to me
For a long time my darling I’ve waited For the sweet words you never would say Now at last all my fond hopes have vanished For they say that you’re going away
Come and sit by my side if you love me Do not hasten to bid me adieu Just remember the Red River Valley And the cowboy that loved you so true
Postscript: The Evening
Ten of us gathered. Eight contributors, me in my capacity as curator/master of ceremonies, plus Rohan Candappa.
The Part One running order was:
Jan
Adrian
Jill
Geraldine
The Part Two running order was:
Coats Bush (Terry)
Auntie Viral (Kay)
Fabian Tights (David)
Arfur Pig (Ian T)
(The nicknames is a long story. Ask Rohan).
We had a good 30 to 40 minutes after the readings to discuss the contributions and all sorts of other stuff.
From my point of view it was a great evening and I thoroughly enjoyed the role of curator. Not that i would want to curate the evening every time, but my hand is certainly up to curate again.
…do I even need to explain that “choose just one page to read” meets a similarly febrile emotional push-back in my mind.
But I quite quickly settled on Hermann Hesse as my choice of author. George Elliot and Hermann Hesse are the only authors about whom I decided, on reading one novel, that I simply must try to read everything this person wrote.
Hesse’s novels are extraordinary and quite exceptional. I commend all of his novels to you. Steppenwolf and The Glass Bead Game are mind-blowing, but possibly not the place to start with Hesse’s work.
My first Hesse read was Demian. I picked up that novel, pretty much by chance, in a remaindered bookshop on the Charing Cross Road in the mid 1980s. Some of the fictional conversations in that book reminded me of conversations I’d enjoyed with Anil Biltoo, the school pal with whom I went to Mauritius in 1979 and through whom I met Fuzz, the subject of my first ThreadMash piece.
Hesse’s evident fascination with Eastern philosophies and my desire to read more about them took me next to Siddharta. There are two parts to the book; I am going to read you the few hundred words that conclude Part One; a point at which Siddharta reaches a spiritual awakening such that he is, in a sense, reborn in Part Two.
I don’t personally believe in reincarnation, but I did feel a shiver down my spine while researching this preamble, when I read Hermann Hesse’s Wikipedia entry. Hesse died on 9 August 1962. That was the day that Anil Biltoo was born.
I went first, so (apart from a short introduction by Rohan before I did my bit), this piece is sequenced in running order sequence.
Kay went next. She read The Owl-Critic by James Thomas Fields, reading from a charming anthology she has kept from primary school. Kay might chime in with the details of the anthology, but I’m guessing it is out of print and hard to find. She had peppered the poem with musical notation as a child, which was a charming additional detail.
Flo read Last Of the MetroZoids by Adam Gopnik. It is a very moving piece about the art historian, Kirk Varnedoe, coaching a boys football team while dying of cancer. It is a very moving piece, which Flo read beautifully.
Ian Theodorson read a passage from East Of Eden by John Steinbeck (link is to Wikipedia entry, as the book is still in copyright). Ian preambled his reading by explaining some of the biblical references/allusions involved, not least the Cain & Abel story from the Old Testament.
Then a brief half-time discussion. The topic that got the most coverage was about Little Women and books of that kind, specifically whether there is an equivalent literary genre that helps young men to understand their romantic emotions. We concluded that there is seemingly no such genre.
We then had an actual half-time break, but there was no evidence of anyone eating cut up pieces of orange. Nor, mercifully, did Rohan try to motivate us with glib words and phrases such as “momentum”, “play as a unit”, “give it 120%” or “leave it all out there on the Zoom screen”.
There was then a euphemism-fest, using terms such as “recharging my gadget”, when it was clear that people wanted a toilet break.
I used that time as an opportunity to show those who remained my proud collection of decomposing Pooh.
When it comes to decomposing Pooh…if you’ve got it, flaunt it.
John read a nerve-jangling passage from Touching the Void by Joe Simpson. It is a heart-stopping true story about a pair of mountaineers in the Andes who survived a disaster in almost-impossible circumstances. It was made into a much-lauded documentary film some years after the book came out.
Geraldine read us three Robert Frost poems. It didn’t occur to me at the time, but it has dawned on me the morning after, that The Road Not Taken, one of Frost’s best known and most debated poems, is a fascinating echo of the East Of Eden “free will” debate regarding the Cain & Abel story from Ian T’s reading. Geraldine read one other poem the title/detail of which has escaped me (she might chime in with the title), plus The Gift Outright, which Frost recited in person at John F Kennedy’s inauguration.
Perhaps they should book Stewart Lee to recite some fitting words for the outgoing president at Joe Biden’s inauguration, if the narcissist-in-chief bothers to show up.
After the event, a few of us stuck around for some further discussion, although it soon descended into weird debates about matters such as the relative merits of Michael Mcdonald & Malcolm MacDonald, two people who are surely very hard to distinguish from one another.
I have had this problem myself in my time. Who hasn’t?
Just one more parting thought, brought to mind by the thought of stories we loved as children and our parents’ influence. I am blessed to still have many recordings of my parents reading to me. I have several still to go through and upload to Ogblog, but one in particular, from when I was five, remains charming and is a complete story. I uploaded it a few years ago and several friends told me that they have played it many times over to their children. Hare And Guy Fawkes by Alison Uttley:
Actually this was a very good idea. The face-to-face “40 years on” reunion had to be cancelled this summer, so Rohan figured we should have a “40 years on” virtual reunion through the good offices of Zoom instead.
Of course, back in the day, nobody used the phrase “back in the day”…
I paraphrase Rohan’s remarks in the form of a quote.
37 of us gathered, from a cohort of some 120. That’s about a third of us, which, 40 years on and with some of our cohort no longer with us…is a mighty impressive haul.
People joined from places as far afield as Ontario (Paul Deacon & Rich “The Rock” Davis), New Zealand (The Right Reverend Sir Nigel Godfrey), Phnom Penh (Andrew Sullivan), Australia (Neal Townley), Barcelona (Duncan Foord), Crouch End (Rohan Candappa) and Penge (somebody, surely?).
It seemed like a recipe for chaos, yet somehow the mixture of untrammelled chat and a little bit of structured “go around the virtual room for a memory each” worked surprisingly well.
Some of the people are friends I have seen relatively recently, one way…
…but many of the people present I had only corresponded with on FaceBook or not at all in the last 40+ years.
The array of memories was varied and fascinating. A lot of stuff about teachers, good, bad and (in some violent cases) especially ugly.
Some observations especially resonated with me and stuck in my mind. Paul Romain illustrated through readings from his first and last school reports that he was a keen scout at first, but by the end at least metaphorically semi-detached from the school…if not detached and several acres from the metaphorical school. That resonated with my experience.
It also brought back to me my lingering grudge against my late mum for throwing out my old school reports (and indeed all my juvenilia from that period apart from my diaries) on the spurious grounds that “no-one would ever want to look at that sort of old rubbish again”. When I challenged this assumption, by letting mum know that I was REALLY REALLY upset that she had done this, she said, “how was I supposed to know that you cared for that stuff?”. To which my simple answer was, “if you had asked me BEFORE you threw my things away, you’d have known.” No, I’m still not over it.
“Renée is an enthusiastic, diligent lass, but she sometimes allows her natural exuberance to mar her judgement”
I think it was Jerry Moore who held up some editions of Scriblerus (the Alleyn’s School magazine), threatening to scan and circulate some elements of them. I do hope he does that. David Wellbrook mentioned his first toe-dip into performing Shakespeare and the rather damning review Chris Chivers gave of his performance.
That all brought back to my mind my own somewhat involuntary performance in Twelfth Night, I think the year after David Wellbrook’s debut. I remember Mr Chivers’ Scriblerus review of my performance as Antonio; in particular I recall pawing over it on a train with my friend Jilly Black, trying to work out whether he was praising me or damning me with faint praise. I suspect the latter, but I would love to see the review again now that I am older and…well, just older.
Indeed I considered sending my apologies to the virtual reunion and spending the evening wallowing instead. But I thought better of doing that and Janie encouraged me to give the virtual meeting a go…I could always switch off the Zoom early if I really didn’t feel up to the gathering…
…anyway, I’m so glad I did join the group, even if I wasn’t entirely myself throughout the evening. It was great to see everyone and I learn that there is every chance that many of us will be doing it again.
I guess I need to dig out those diaries again and see what else I can find!
Janie and I were shocked and deeply saddened to learn that Mike Smith had died suddenly, on the morning of 12 November 2020.
I have known Mike since early 1995, when I went to visit him (and Marianna) at Keele University, at the behest of Michael Mainelli, in the very early days of our business, The Z/Yen Group. I have written up the very first 1995 visit – click here and below:
Michael, who had already known and worked on and off with Mike Smith for 16 years by then, was aware that Mike was possibly looking for a change and might be the answer to my skills shortages, especially when advising civil society organisations on matters information systems and/or informatics.
Mike was a terrific mentor and an exceptionally brilliant systems architect. Advisory work was less his forte. But through the triumphs and difficulties we enjoyed and endured together during those years, the important thing is that we had tremendous respect for each other, forming a firm and enduring friendship.
Mike also remained an associate and close friend of Z/Yen after moving on to form Medix, which at that time was a research business for the health sector based around some of Mike’s ingenious software. Mike retained the rights to the core of his research systems and latterly Z/Yen started to use them and worked with Mike again on various projects.
It was while Mike and I were working together on a project at Moorfields in 2014 that he sprung upon me the idea that I should learn to play a musical instrument for relaxation. He recommended the baritone ukulele. Then, one day, when we were meeting a senior Moorfields medic, Mike turned up with an instrument and presented it to me at the start of the meeting.
Janie and I were about to go off to Oman for a short break; Mike insisted that I take the instrument with me, despite my concerns about travelling with a loan instrument.
Janie and I were due to reciprocate the hospitality; we had a date in the diary for April, but of course lockdown put paid to that and we didn’t get to reschedule during this crazy on-off year, which is such a shame. But Janie and I are both grateful that our last memory of being with Mike is such a happy one.
Your call is important to us. Please stay on the line.
AN OPEN LETTER TO THE BRITISH GAS CUSTOMER RELATIONS TEAM
2 NOVEMBER 2020
Thank you for your response to my complaint last month.
For the benefit of new readers, I complained about shortcomings in the establishment of a joint electricity and gas account which required me to spend 10 to 15 minutes unsuccessfully and eventually 45 minutes successfully waiting for my phone call to be answered. I would not have needed to phone British Gas at all, but for shortcomings in the on-line service which allowed me access to the electricity account but required me to phone to initiate the gas one.
I asked you not to blame the Covid pandemic for these shortcomings, but you spent some 35% of the words in the substantive part of your response doing just that. I did not complain about the delay in commencing the gas service, as I am aware that you were one of two suppliers involved. But you spent some 30% of the words in your substantive response implying that Opus might be to blame. (The previous supplier was Octopus).
To be clear, only British Gas is to blame for:
the fact that the on-line system worked for the electricity account on commencement but not for the gas account;
providing no means for me to initiate on-line activity for that gas account – there was simply a clear message on the screen telling me to call a particular phone number;
such dire staffing on that phone line, I waited an hour before speaking with someone.
The reason I didn’t want you to blame Covid is because I KNOW that British Gas can staff telephone lines adequately at the moment. The sales team responded to my calls very rapidly. British Gas has chosen not to staff adequately the customer services phone. I strongly suspect that the dire service level I experienced is regular fare for your poorer and more vulnerable customers, who might lack the literacy or IT skills to use the on-line systems and webchats (if/when available, which in my case, you realise, they were not).
You end the substantive part of your response with a delicious question:
“In terms of complaint resolution, other than apologies, could I ask what are you requesting?“
I find this question hard to answer. Perhaps some of my friends and contacts have ideas, which is one of the reasons I am publishing this letter openly. If I get any great ideas from my personal network, I shall pass them on to you.
But I suspect that your question is a veiled way of asking “how much compensation do you need to go away and not come back?” I shall leave the answer to that question to you. I spent an unnecessary hour just waiting for you to answer the phone and I have spent a further 90 minutes or so actually getting my problem resolved and writing to you.
At minimum wages levels that equates to £21.80. At my commercial charge out rate it equates to £1,000. Somewhere between those two figures feels right to me.
Whatever you decide to provide as compensation to Buffalo Woodfield Limited, I pledge personally to donate that sum to FoodCycle, the charity which my wife and I are supporting through the pandemic by doing food drops to the needy. My friends and contacts will eagerly await the donation figure.
I genuinely want British Gas as a supplier to look after poorer and more vulnerable customers properly. You are a large organisation which can make bigger and bolder choices than small companies like mine and individuals like me. Currently, in the matter of customer service, you are making bad customer care choices. Do better.
With best wishes
Ian Harris, Director, Buffalo Woodfield Limited. Complaint Reference number: 5022907658.
Postscript
Seventy minutes after sending the above complaint (and posting it on Facebook & Ogblog) I received correspondence offering £200 as a goodwill gesture.
But these are not normal times, so we needed to keep the little urchins away from our biosecure gates and door.
But we did put out an illuminated pumpkin for them to spot and one bowl of sweets atop the hedge for those bold enough to take anything at all from such an uninviting place.
I hope the “joke” involved in getting a “Keep Out – foot and mouth disease” sign for a podiatrist’s door isn’t wasted on you readers…it probably is wasted on many of the passers by, not least the local kids.
We’ve done our best this year. Hoping we can go back to the normal levels of pseudo-horror next year. The real horrors of 2020 are not fun.
Perhaps only subscribers can see the above piece but here, on fair use principles, is the sentence that made me gulp my coffee:
In that role of peacemaker, he also trekked in 2011 into the forests of Chhattisgarh to oversee the handover by Maoist rebels of five abducted policemen.
Janie and I were in Chhattisgarh in February that year. Intrigued, I Googled the incident to see if, as I suspected, it occurred when we were there and near where we were.
So, the hostages were taken on 25 January 2011 and a hostage crisis started to unfold in Narayanpur on 3 February when demands were made by the Maoists and interventions planned by Agnivesh and others.
Janie and I were due to visit Narayanpur for market day on 6 February, but our host, Jolly, assured us that it would not be a good idea to go there and said he had revised our itinerary to see equally or even more interesting tribal people and markets nearer to Bastar.
Of course, we had been warned before we travelled to Chhattisgarh that it was a politically volatile place and that our itinerary might be subject to last minute change.
But what a wonderful day we had on the back of that change.
And how extraordinary to learn, after nearly 10 years, that the reason for that change was a hostage crisis that was being resolved by one of our human rights heros in the place we were supposed to visit.
We can’t (in practical terms) travel at the moment, during the pandemic, but Janie and I were all-but transported, through time and space, back to that 2011 adventure of ours in the central plains of India. Invigorating, it was.
Bernard Rothbart (left) – with thanks to Mike Jones (right) for the image
I don’t believe in ghosts. No ifs. No buts. I don’t believe in ghosts.
By which I mean, actually, that I don’t believe in revenants; the animated corpses and undead beings that haunt the living throughout folklore.
Possibly because I don’t believe, I don’t particularly care for ghost stories.
I do, however, especially care for Ghosts, a play by Henrik Ibsen, written in 1881. I first encountered this play when studying drama at school. I thought it was a cracking read.
I subsequently had the honour and privilege to see the 1986 Young Vic production with Vanessa in the lead…
…Vanessa Redgrave, dears. In theatre circles, you merely say “Vanessa”.
More recently, in 2003, Janie and I saw the Royal Dramatic Theatre of Sweden’s production of Ghosts directed by Ingmar Bergman, with Pernilla August in the Vanessa role; Mrs Alving.
Intriguingly, the title of the play in the original Norwegian and Danish, is Gengangere and Ibsen disliked the translation of the title as “Ghosts”. The word gengangere has the double-meaning of revenants and events that repeat themselves. Ibsen felt that the word ghosts fails to express that second meaning.
For sure the play Ghosts is about being haunted by events and the past repeating itself.
As is my story, about an event more than 40 years ago.
Many of my former schoolmates, like me, are haunted by the sudden, untimely death of Bernard Rothbart, one of our biology and chemistry teachers. He died by his own hand, at the school, in December 1979. Mr Rothbart sat in his car in the teachers’ car park and ingested potassium cyanide. He was 29 years old.
I was reminded of the event about six years ago when a fellow alum mentioned on our alumni Facebook group how much he’d been affected by the incident. It kicked off a several-hundred comment thread.
…helping me to recover the memory of my Uncle Manny’s funeral, 18 months later, at Bushey Jewish Cemetery, the same location as Mr Rothbart’s.
I had been asked…almost begged…to attend Bernard Rothbart’s funeral, as the teachers felt nervous about attending a Jewish funeral and wanted my help to explain the relevant laws and mores. I think they also felt that a Jewish pupil might help put the grieving Rothbart family a little more at ease with the Alleyn’s School contingent.
In truth I felt a bit of a fraud. I had never attended any funeral before, so it was a case of the partially blind leading the totally blind. I had to pump my parents for information ahead of the day and brief the other Alleyn’s attendees based on my folks’s briefing, rather than the direct experience I think they were hoping for.
I had also been one of Mr Rothbart’s less attentive chemistry students. I recall thinking self-centredly at the time that the sight of my utterly hopeless mock A-level exam paper might have driven poor Mr Rothbart to cyanide.
I had meant to write up that strange experience; Bernard Rothbart’s funeral, when I mentioned it in my recovered memory piece about Uncle Manny & The Hoover Factory…
…in 2017, but didn’t get around to it at that time.
A few months ago, I received a message, out of the blue, enquiring whether I had ever got around to writing up my Bernard Rothbart piece. The message came from one of the fellows who had been larking around out of bounds that day in 1979 and found Mr Rothbart in his car.
I promised that I would write up the piece soon, but just didn’t have the spirit to delve into that particular memory during this strange summer.
Then, a few weeks ago, Janie & I learnt that a close friend’s former partner, Mitchell, had hanged himself on his sixtieth birthday. We can only try to imagine Mitchell’s mental state. Mitchell’s story felt like a haunting echo of the Bernard Rothbart story.
Now I am preparing to go to my first socially distanced funeral, a few days before I read this piece at ThreadZoomMash.
More than forty years since my first funeral; I have now been to many. This one will be a humanist cremation at Hoop Lane. I have even been to plenty of those.
But, like 1979, I don’t really know how to behave at this funeral.
I’m part of a different tribe now. Everyone must follow novel, social-distancing mores… now.
Yet still, I sense the gengangere, the ghostly echo of repeating events.
Postscript: Reflections On The Evening
Reflecting a few days after the event, my thoughts have been very much provoked by the readings that evening.
Adrian Rebello’s choice of Ghosts as the theme bothered me a little at first, as I thought that theme might yield a more homogeneous collection of pieces than usual. In fact the selection was very diverse and I thought the quality extremely high. As a group, I think we are getting better and better at writing short pieces for recital.
I didn’t take notes as I wanted to reflect on these pieces impressionistically and also imagined (correctly) that some of them could not really be described without spoilers. So I will say little about some pieces, which does not cast judgment on their quality.
Rohan Candappa went first and talked about several Ghost-themed songs from our youth; There’s A Ghost In My House by R Dean Taylor, Ghosts by Japan, Ghost Town by The Specials, Ghostbusters by Ray Parker Junior and finally (obvs?) Wuthering Heights by Kate Bush. Rohan prefaced the piece by asking us all to think about 16 February 1978 (the day Wuthering Heights first appeared on Top Of The Pops). As it happens I have already Ogblogged my experience at that time; I would have been in rehearsal for Andorra that evening so (unusually for that era) would have missed TOTP that night:
Kay Scorah went next with a very creepy story about a lost twin…or two. It’s creepiness was enhanced by the sense that she was telling a true story. It transpired from the discussion afterwards that the story was largely based on truth.
Ian Theodoreson’s story was very much a true story about strange ghostly happenings (and unhappenings) at the former Mary Datchelor School Building, when Ian was working there as Finance Director of Save The Children. I first met Ian in that setting, as it happens, some time before the haunting events that Ian described. I have my own mixture of haunting memories of that time, despite the happy ending to my Save The Children story:
Terry’s story, about the loss of a child, was very moving as well as spooky. Terry has a direct, sparse style of writing and delivery that works well generally and worked especially well for this piece.
Then my piece (above).
Then David Wellbrook’s story, which fitted well with his new-found ability to write suspenseful horror/thriller stories, such as his Dahlesque piece, “The Gift”, which I read out at the fourth ThreadMash. The Ghosts one this evening had lots of twists and turns…
…but not as many twists and turns as Julie Adams’s piece. Her piece had more twists and turns than the ghost train ride that was central to her story. How she managed to pack such a rich, complex, diverse, funny and horrifying story into 800 or so words I have no idea. Julie is one of the less confident writers in our group, because that’s how she is, not because she has grounds for lack of confidence in writing. But if ever I have sensed that her lack of confidence in writing is misplaced it is with this piece, which was a tour de force and genuinely shocking. Unfortunately Julie wasn’t able to join us that evening, but Adrian was able to read her piece out brilliantly well.
Geraldine Sharpe-Newton wondered about extreme of old age in her piece, exploring the idea that the very old, tucked away neatly in care homes, might be a form of living ghosts prior to their clinical demise. As always with Geraldine, it was beautifully structured, steeped in clarity and wisdom; I found myself, as usual, wanting to hang on to every word.
Fiona Rawes (Flo’s) piece was a haunting piece about a pet. Writing about ghosts of species other than humans is quite rare and/but Flo’s style, which tends to focus in delicious detail on miniature domestic stories, worked beautifully for this piece.
John Eltham’s piece was a very well crafted ghost story about a hill-runner rescued from a near-death experience. John is another of our less confident writers but he is proving each time he writes that he has a gift for writing and that his stories deserve to be heard. John is also extremely good at delivering his stories as the spoken word.
Jan Goodman’s piece was an hilarious, post-modern ending to the evening. Upon learning the theme, she had immediately worked out in her mind the sketch of a great story. Unfortunately, she hadn’t quite worked out how to fit such a complex story into 800 words and had left the writing task until a little too close to the deadline. So instead of dropping that idea and writing something else, she wrote the story of that sketchy idea and her subsequent struggles…let’s face it, failure…with that story idea. It was a very amusing piece and it must have spoken to many if not all of us who have had that type of struggle in our time.
Adrian hosted the evening extremely well. I thought he had ordered the pieces very cleverly, as his joins were very confident, but he admitted at the end of the evening that he had decided to sequence the pieces using the simple method of listing the recitals in the order that the pieces came in…and then “winging it” for the joins.
Well winged, Adrian. Indeed, well done everyone. It was a great evening.
