The Other Britain edited by Paul Barker (Routledge & Kegan Paul 1982)

'Evening, William,' shouts a young man with a beard and an army surplus greatcoat. 'Here comes the Marble Arch contingent,' says Bill. The young man is followed in by three others - a skinny middle-aged man with long, greasy hair, a small elf-like figure in a donkey jacket, and a white-haired man in a white coat with Daily Express printed on the chest. They fill up a window table with tea cups and ashtrays.

Pete, the young bearded one, has been an all-night news-vendor for three years. 'Before that,' he says, 'I did everything. Picked grapes in France; worked in a hostel for young offenders; in a factory; was in the Coldstream Guards for five years; in the Royal Corps of Transport for seven. I heard about this job from a bloke in the dole queue.' He speaks with a soft, middle-class accent which contrasts oddly with his street-wise appearance. He wears thick grimy boots and hiking socks, and has a couple of teeth missing.

He says he is self-educated. He reads a lot of books. He has a theory about people who work at night. 'They're returning to the womb,' he explains, rolling a cigarette in a tin on his lap. 'I believe a lot of day people, who hate their jobs, are frustrated night people. There ought to be a test to determine whether you're nocturnal or diurnal.' He starts to fill in The Times crossword.

(From The night people' by Helen Chappell.)

Zoo Station by Ian Walker (Abacus 1987)

P. 27-28
Walking to the party. Tommy was describing a gig he had recently attended at the Church of Our Saviour in Rummelsburg, a few miles away. Gigs in churches were always unofficial, advertised by word-of-mouth only. Although the security police never arrested anyone inside the church grounds, there were always plenty of Staasis at such events, mingling with the audience and maybe taking photographs.

'In the front row of pews there were about twenty Staasis,' said Tommy, 'You know how they always stick out a mile in their tight white T-shirts and moustaches? Well there was this group playing a mixture of R & B and soul and one of the Staasis got really into it, jumping up and down and singing along. The other cops kept trying to restrain him, but eventually they had to escort him from the church.'

P. 319-320

I thought about the nightshift, the international community of nightshifts, all the metropolitan people toiling at nights to earn enough money for the basics plus one annual family holiday and maybe a car and some new furniture now and again if they were lucky. The driver had asked what freedom was. What was freedom for the nightshift? What was freedom for the women nightcleaners vacuuming office blocks in cities all across the west? The freedom to work all night and wait for the bus home at dawn? The freedom to fix breakfast and get the children off to school? The freedom to clean up the house and maybe catch a few hours' sleep before the children came home for their tea? The freedom to wait again for the bus that will return them to the deserted empires of the company headquarters that must be spick-and-span by morning for all the secretaries, clerks, accountants, PR people, designers, marketing and personnel managers, salesmen, lawyers and company directors, especially the place must be spick-and-span for the company directors, for all these armies of people busy making and selling useless things for fun and profit, the freedom to be part of this grand design? The freedom to enter polling booths, to inscribe twelve crosses during the course of a voting lifetime? I was thinking that people like the driver of this Trabant, people anywhere working on the nightshift, had neither the energy nor the inclination for silent bicycle protests of the kind described by the graphic designer of Köpenick. East and west, the same kind of people did these things. Dissent was also a kind of luxury. The driver of the Schwarzetaxi didn't give a fuck about freedom.

He would have felt out of place at the party in Köpenick. I had felt at home there. There was an international community of big-shots, of dissenters, of nightshift workers, all these little western worlds and eastern worlds holding up clean mirrors to each other. Big-shots in West Berlin lived in Dahlem. Big-shots in East Berlin lived in the suburb nicknamed Volvograd. Big-shots in West Berlin were capitalists. Big-shots in East Berlin were communists. Big-shots said we and spoke for all their nation. I felt drained and drunk. I wanted to shout things from the rooftops, but the things got so complicated and the words just blew around like dust in the wind.

What can I say; a writer I love so much that I had to inscribe two passages rather than the usual one for a book just (re)read to give you a flavour of his humour, humanity and sense of anger at the injustice of the world. For the millionth time on the blog, I'll recommend the following articles by Walker that originally appeared in the pages of the New Society magazine:

Anarchy in the UK

Skinheads: the cult of trouble

Also check out the comments on this old blog post which gives more background on Walker.

Mr Alfred M.A. by George Friel (Calder & Boyars 1972)

He saw a new rash break out on the scarred face of the city. Wherever the name of a gang was scribbled the words YA BASS was added. The application of the phrase caused some dispute at first. Nobody doubted YA BASS meant YOU BASTARDS. But the grammarians who discussed it were undecided about its vocative or apostrophic use. Some said COGS YA BASS meant O COGS! YOU ARE BASTARDS! Others said it meant WE ARE THE COGS, O YOU BASTARDS! A fifteen-year-old boy charged with assault and breach of the peace, and also with daubing TONGS YA BASS on a bus-shelter, said in court that YA BASS was an Italian phrase meaning FOR EVER. But the sheriff didn't believe him.

Some of the intelligentsia seemed to believe him.

Following a fashion, as the intelligentsia often do, they wrote the names of miscellaneous culture-heroes in public places and added YA BASS. Thus soon after the original examples of COGS YA BASS, TOI YA BASS, TONGS YA BASS, FLEET YA BASS, and so on, which were plastered all over the districts where those gangs lived, a secondary epidemic occurred on certain sites only. SHELLEY YA BASS suddenly appeared in the basement of the University Union. In a public convenience near the Mitchell Library MARX YA BASS was scrawled in one hand, LENIN YA BASS in another, and TROTSKY YA BASS in a third. When The Caretaker was put on at the King's Theatre PINTER YA BASS was pencilled on a poster in the foyer. BECKETT YA BASS, later and more familiarly SAM YA BASS, was scribbled on the wall of a public-house urinal near the Citizens' Theatre the week Happy Days was on. When the same theatre presented Ghosts somebody managed to write IBSEN YA BASS in large capitals on the staircase to the dress-circle.

Strip Jack by Ian Rankin (Minotaur Books 1992)

'Are you an Inspector of Hospitals?' he asked.
'No, sir, I'm a police inspector.'
'Oh.' His face dulled a little. 'I thought maybe you'd come to . . . they don't treat us well here, you know.' He paused. 'There, because I've told you that I'll probably be disciplined, maybe even put into solitary. Everything, any dissension, gets reported back. But I've got to keep telling people, or nothing will be done. I have some influential friends, Inspector.' Rebus thought this was for the nurse's ears more than his own. 'Friends in high places . . .'
Well, Dr Forster knew that now, thanks to Rebus.
' . . . friends I can trust. People need to be told, you see. They censor our mail. They decide what we can read. They won't even let me read Das Kapital. And they give us drugs. The mentally ill, you know, by whom I mean those who have been judged to be mentally ill, we have less rights than the most hardened mass murderer . . . hardened but sane mass murderer. Is that fair? Is that . . . humane?'

Near Neighbours by Gordon Legge (Jonathan Cape 1998)

Adam switched off the motor.

'Oh,' said Geordie, 'you're back again.'

'Back to listen to you and your blethers, aye.'

'By God, see if I was a younger man - I'd take my hand off your face before you could say Gazza. I've battered bigger than you, mind. Plenty bigger.'

Aye, I think I mind you telling me - hundreds of times.'

Geordie was the type as would probably be quite happy if Adam were to headbutt. He'd live off it for years. 'Aye,' he'd tell folk, 'just right in front of my face. What a mess it was and all. Blood and brains all over the shop. Never get that cleaned. That's what the polis said. Said to me, "Geordie," they said, "long as you live, and as hard as you try, you'll never get that cleaned."'

Adam replaced the seat. 'Well, want to give it a go, auld yin?'

Geordie made to get up. He adjusted his legs. He adjusted his legs like they were artificial. To all intents and purposes, they were.

(From the short story, 'Past Masters'.)

Don't Be A Soldier! The Radical Anti-War Movement in North London 1914-1918 by Ken Weller (Journeyman Press 1985)

Much of available labour and socialist history is about institutions - parties, trade unions and similar organisations, on the anatomy rather than the physiology of the movement; while another substantial chunk is about individuals - usually those who have reached some sort of prominence. Both of these approaches can be valuable but they do not usually help us understand the confused matrix of the grass roots movements from which these individuals and organisations emerged, or how they articulated together. At worst much of what passed for labour/socialist history - particularly of the twentieth century - is little more than retrospective justfication, a hunt for apostolic or demonic successions and the legitimisation of this or that organisation or ideology, rather than an attempt to describe the rich and fertile contradictions of the movement as it was, and for that matter still is.

The struggle against the 1914-1918 war is often seen in a partial way, as being embodied in either the established socialist parties or in the pacifist movement. I hope that this text will show that the reality was much more substantial, complex and fruitful. What is clear - certainly in London and I suspect nationally too - was that the main origin of radical anti-war movement was not in the established socialist groups, or among middle-class pacifists, although both these currents made a contribution (and were themselves profoundly affected by the heat of the struggle); rather it lay in the 'rebel' milieu which had existed before the war - the syndicalist and industrial unionist movements within industry, the radical wing of the women's movement and the wide range of networks and organisations which by and large were very critical of the established labour movement.

[From Ken Weller's introduction.]

Surviving The Blues: Growing Up In the Thatcher Decade edited by Joan Scanlon (Virago Press 1990)

At the end of the three years, all of the few friends I had made in York moved to London. I traipsed after them, clueless as to what my next step should be. They were going into publishing, and taking secretarial or journalist courses, or going on to drama school. I did the rounds, dossing on everybody's floor (they all seemed to have a house in London) for months. There was a particularly curious stage during the Falklands War, when I camped at No. 11 Downing Street for a week. Geoffrey Howe's son was a friend of mine at York University. At this point I was a punk, with spiky, viciously backcombed blonde hair and a tendency to sport a particular pair of very attractive blue trousers, which unfortunately I had singed at the crotch with an iron: a large triangular singe in the exact formation of pubic hair. The security police, who stood constantly on guard, never failed to inspect my person whenever I returned to No. 11. The Falklands War was hotting up, and Mr Haig, the US Secretary of State for Defence was in negotiations with Margaret Thatcher. I sauntered down Downing Street in my short-sighted haphazard way, only to be met by a pack of reporters, awaiting news about war developments from No. 10. There was a most embarrassing scene when I had to knock at No. 10 and wait for an age to be allowed in, so that I could gain access to No. 11. The cameras stopped rolling after they spotted the trousers.

(Louise Donald from the chapter, 'A Deafening Silence'.)

Now's The Time by John Harvey (Slow Dancer Press 1999)

Music has always been important for Charlie, you fancy - as background and as entertainment, as a way of easing a stressful life, papering over emptiness, and more positively, helping him to measure and assess emotion, helping him to understand. And where it had begun for him, this musical affiliation, this need? A tailoring uncle, returned from the States with a pile of chipped and scratched 78s and Charlie, in his early teens, open-minded and keen-eared, set loose amongst them. Bing Crosby. The Ink Spots. Sinatra. Dick Haymes. The Mills Brothers. Ella Fitzgerald's 'A-Tisket, A-Tasket' and 'Stone Cold Dead in the Market'. Teddy Wilson and his Orchestra with Billie Holiday (vocal refrain).

(John Harvey writing about his creation, Charlie Resnick, in the chapter entitled, 'Coda'.)

Smoking In Bed: Conversations With Bruce Robinson edited by Alistair Owen (Bloomsbury 2000)

How to Get Ahead in Advertising might almost be the modern equivalent of a satirical pamphlet by Swift.

I think there are elements of that, because being a pamphleteer was the most immediate and accesible way of communicating one's outrage and a lot of people did it. Every day you pick up your Guardian and there's a Steve Bell cartoon about a serious subject that can make you laugh out loud. Comedy is the greatest weapon there's ever been for dealing with politicians. I'd be sitting there with a boiled egg, saying, 'How can people not see what's going on?' I thought I was looking at reality, and I suppose I wondered why no one else was. If you rant and rave like I used to and you haven't got an outlet for it, people think you're a nut. That's when they say, 'Just lie down. A little bit of the old liquid cosh and you're going to feel much better.' I don't do that any more. Sophie says the first time I took her out to dinner I made an hour and a half speech about Margaret Thatcher. That was our first date. She told me that after twenty minutes she just cut off and nodded. And that's what became of the film: most of the audience cut off and nodded.

I Love Me (Who Do You Love?) by Gordon Legge (Polygon 1994)

'Captain what?' said Neil.

'Captain Trip, best band ever.' Deke switched on the machine and the music came out of the speakers: muffled tribal drumming; mumbled tribal vocals; a really loud guitar that sounded as if it was recorded best part of half a mile away; and a bass that appeared to have been set up all of two inches from the mic.

'Fucking brilliant, eh,' said Deke.

Neil gave a serious nod like he was into it and said, 'Bit like Can.'

'One of our influences,' said Deke. 'Mostly we just made it up, though. Well, us and the drugs, like.'
'Listen,' said Gary, coming in at just the right moment so at to drown out his famous missed beat, 'we've got to do something and get this thing going again.'

Deke shook his head. 'Nah, it's gone, Gary, finished. Had to be of its time. Let the bastards catch up and then we'll fucking show them.'

'Oh, come on,' pleaded Gary.

Deke turned to Neil, though. 'Listen to this,' he said, 'just listen to this, listen to it. This was a 12" before there was a 12", this was rave before there was a rave, this was baggy before there was a baggy. Listen. Telling you, I'm hearing all this new stuff, and it all sounds fucking familiar to me, you know, and I just goes back and plays the old tape, and, bang, there you go, there it all is, it's all there. Listen to this bit.'

Neil listened. 'Nirvana?'

'Exactly,' said Deke. 'We were Nirvana,, we were Nirvana years ago, years ago, we were doing all that grunge stuff years ago. We were Nirvana before they even knew they existed, and they've made millions out of that, by the way, millions. That three and a half seconds there, that's their fucking career. Hold on, this bit?'

'My Bloody Valentine?' said Neil

'There you go. More fucking millionaires. Telling you, you want to have seen the reactions we got when we were on stage. The kids just loved us.'

'Mind Kirkcaldy?' said Gary.

'Mind it? Come on, how am I ever going to forget Kirkcaldy?' Deke turned to Neil again. 'You ever heard of anyone getting themselves a life-long ban from the Kingdom of Fife? No? Well. wait till you hear this one . . .'

Hearing his past so gloriously described almost made Gary forgive Deke for not wanting to get the band going again. Maybe though it was for the best to consign all this to the past, not to want to recapture it but, like Deke said, to move on, to go for the future.

Blow Your House Down by Pat Barker (Picador USA 1984)

You do a lot of walking in this job. More than you might think. In fact, when I get to the end of a busy Saturday night, it's me feet that ache. There, that surprised you, didn't it?

I work on me own now. Nobody else fancies this place, because they've all got it worked out that he must've picked Kath up from here. I've got the whole viaduct to meself some nights. Except for Kath, who's still here in a way, stuck up there on her billboard. Hiya, Kath.

I watched them putting that up and it was very strange if you knew Kath, because it was too big to go up all at once. I watched them pasting across first one eye and then the other and I thought, My God. Because her eyes, they follow you. They do, they follow you everywhere. I can be walking along with me back to her, and I still feel them. And they've got such a funny look. You'd just think they'd taken that photo after she was dead - that's the effect it has on you. Which is mad, because you can see she's alive, and anyway dead people's eyes close.

The Shoe by Gordon Legge (Polygon 1989)

They always had good rants, Mental and Richard. The miners' strike provided eighteen months of debating material. Mental was completely disillusioned with the Protestant work ethic and found the refusal to hold a ballot smug and disturbing. Richard blamed the miners' loss on their amateurish use of the media and the media's innate bias. He talked of camera angles, interview locations and distorted emphasis. A ballot was useless, Richard said, since the media determined the information supply and the media was biased. The miners had elected leaders to make decisions on their behalf. That's what Scargill's job was. But Mental was unimpressed. The miners represented everything he hated about the 'mince and tatties mentality': 'All these places are Hun cities. Take Bo'ness, for example, typical fucking mining community. Hun bastards. You've got all these fat bastards moaning about not having any food. And I hate the word "scab". People degrade themselves by using that kind of attack.' They all wanted to see the miners win and they all agreed that Leonard Parkin was a fascist. But mostly they wanted to see Margaret Hilda Thatcher melt.

Ragtime by E L Doctorow (Picador 1975)

In New York City the papers were full of the shooting of the famous architect Stanford White by Harry K. Thaw, eccentric scion of a coke and railroad fortune. Harry K. Thaw was the husband of Evelyn Nesbit, the celebrated beauty who had once been Stanford White's mistress. The shooting took place in the roof garden of the Madison Square Garden on 26th Street, a spectacular block-long building of yellow brick and terra cotta that White himself had designed in the Sevillian style. It was the opening night of a revue entitled Mamzelle Champagne, and as the chorus sang and danced the eccentric scion wearing on this summer night a straw boater and heavy black coat pulled out a pistol and shot the famous architect three times in the head. On the roof. There were screams. Evelyn fainted. She had been a well-known artist's model at the age of fifteen. Her underclothes were white. Her husband habitually whipped her. She happened once to meet Emma Goldman, the revolutionary. Goldman lashed her with her tongue. Apparently there were Negroes. There were immigrants. And though the newspapers called the shooting the Crime of the Century, Goldman knew it was only 1906 and there were ninety-four years to go.

Hide and Seek by Ian Rankin (St Martin's Paperbacks 1990)

Hyde's Club. Named after Robert Louis Stevenson's villain, Edward Hyde, the dark side of the human soul. Hyde himself was based on the city's Deacon Brodie, businessman by day, robber by night. Rebus could smell guilt and fear and rank expectation in this large room. Stale cigars and spilt whisky, splashes of sweat. And amongst it all moved Ronnie, and the question which still needed to be answered. Had Ronnie been paid to photograph the influential and the rich - without their knowing they were being snapped, of course? Or had he been freelancing, summoned here only as a punchbag, but stealthy enough to bring a hidden camera with him? The answer was perhaps unimportant. What mattered was that the owner of this place, the puppet-master of all these base desires, had killed Ronnie, had starved him of his fix and then given him some rat poison. Had sent one of his minions along to the squat to make sure it looked like a simple case of an overdose. So they had left the quality powder beside Ronnie. And to muddy the water, they had moved the body downstairs, leaving it in candlelight. Thinking the tableau shockingly effective. But by candlelight they hadn't seen the pentagram on the wall, and they hadn't meant anything by placing the body the way they had.
Rebus had made the mistake of reading too much into the situation, all along. He had blurred the picture himself, seeing connections where there were none, seeing plot and conspiracy where none existed. The real plot was so much bigger, the size of a haystack to his needle.

The Woman Who Walked Into Doors by Roddy Doyle (Penguin 1996)

I missed the 80s. I haven't a clue. It's just a mush. I hear a song on the radio from the 60s or 70s and I can remember something that happened to me; it has nothing to do with liking the song, Song Sung Blue - I'm doing my homework, listening to Radio Luxemburg , the chart show on Monday night, with Carmel and Denise. I'm drawing a map of Ireland, the rivers of Ireland. My blue marker is nearly wasted and I haven't got to Ulster yet. Lily The Pink - I'm sitting on my mother's knee, watching my Uncle Martin singing Delilah; I have a toothache. Somebody else sang Lily The Pink before or after him; I can't remember who - one of my cousins. All The Young Dudes - I'm watching Charlo washing himself at the sink. He still has some of his summer tan. But I don't know any songs from the 80s; they mean nothing - and the radio was on all the time. What did I do in the 80s? I walked into doors. I got up off the floor. I became an alcoholic. I discovered that I was poor, that I'd no right to the hope I'd started with. I was going nowhere, straight there. Trapped in a house that would never be mine. With a husband who fed on my pain. Watching my children going nowhere with me; the cruellest thing of the lot. No hope to give them. They saw him throw me across the kitchen. They saw him put a knife to my throat. Their father; my husband.

Let It Bleed by Ian Rankin (St Martin's Paperbacks 1996)

"Mr. Haldayne has a point, Inspector." Mathieson was sitting down again, in his big Chief Executive chair at the end of the table. Tables without corners were supposed to make everyone equal, but Mathieson's chair was a leather throne. He looked and sounded completely unruffled by events thus far, while Rebus felt his head would explode.

Hundreds of jobs . . . spin-offs . . . happy, smiling faces. People like Salty Dougary, pride restored, given another chance. Did Rebus have the gall to think he could pronounce sentence on the future of people like that? People who wouldn't care who got away with what, so long as they had a paycheck at the end of the month?

Gillespie had died, but Rebus knew these men hadn't killed him, not directly. At the same time he hated them, hated their confidence and their indifference, hated their certainty that what they did was "for the good." They knew the way the world worked; they knew who - or, rather, what - was in charge. It wasn't anyone stupid enough to place themselves in the front line. It was secret quiet men who got on with their work the world over, bribing where necessary, breaking the rules, but quietly, in the name of progress, in the name of the system.

Shug McAnally was dead, but no one was grieving: Tresa was spending his money, and having a good time with Maisie Finch. Audrey Gillespie, too, might start enjoying life for the first time in years, maybe with her lover. A man had died - cruelly and in terror - but he was all there was on Rebus's side of the balance sheet. And on the other . . . everything else.

Fever Pitch by Nick Hornby (Riverhead Books 1992)

Social History

Arsenal v Derby
29.2.72

The replay finished nil-nil, a game with no merit whatsoever. But it remains the only first-team game that has taken place at Highbury on a midweek afternoon during my Arsenal time: February 1972 was the time of the power workers' strike. For all of us it meant sporadic electricity, candlelight, occasional cold suppers, but for third-year football fans it meant visits to the Electricity Board showroom, where cut-off rota was posted, in order to discover which of us were able to offer The Big Match on Sunday afternoons. For Arsenal, the power crisis meant no floodlights, hence the Tuesday afternoon replay.
I went to the game, despite school, and though I had imagined that the crowd might consist of me, a few other teenage truants, and a scattering of pensioners, in fact there were more than sixty-three thousand people there, the biggest crowd of the season. I was disgusted. No wonder the country was going to the dogs! My truancy prevented me from sharing my disquiet with my mother (an irony that escaped me at the time), but what was going on?
For this thirtysomething, the midweek Cup-tie (West Ham played giant-killers Hereford on a Tuesday afternoon as well, and got a forty-two-thousand-plus crowd) now has that wonderful early seventies sheen, like an episode of The Fenn Street Gang or a packet of Number Six cigarettes; maybe it was just that everyone at Upton Park and Highbury, all one hundred and six thousand of us, wanted to walk down one of the millions of tiny alleys of social history.

Candide by Voltaire (Barnes and Noble Classics 1759)

After the earthquake, which had destroyed three-fourths of the city of Lisbon, the sages of that country could think of no means more effectual to preserve the kingdom from utter ruin than to entertain the people with an auto-da-fe, it having been decided by the University of Coimbra, that the burning of a few people alive by a slow fire, and with great ceremony, is an infallible preventive of earthquakes.
In consequence thereof they had seized on a Biscayan for marrying his godmother, and on two Portuguese for taking out the bacon of a larded pullet they were eating; after dinner they came and secured Dr. Pangloss, and his pupil Candide, the one for speaking his mind, and the other for seeming to approve what he had said. They were conducted to separate apartments, extremely cool, where they were never incommoded with the sun. Eight days afterwards they were each dressed in a sanbenito, and their heads were adorned with paper mitres. The mitre and sanbenito worn by Candide were painted with flames reversed and with devils that had neither tails nor claws; but Dr. Pangloss's devils had both tails and claws, and his flames were upright. In these habits they marched in procession, and heard a very pathetic sermon, which was followed by an anthem, accompanied by bagpipes. Candide was flogged to some tune, while the anthem was being sung; the Biscayan and the two men who would not eat bacon were burned, and Pangloss was hanged, which is not a common custom at these solemnities. The same day there was another earthquake, which made most dreadful havoc.
Candide, amazed, terrified, confounded, astonished, all bloody, and trembling from head to foot, said to himself, "If this is the best of all possible worlds, what are the others? If I had only been whipped, I could have put up with it, as I did among the Bulgarians; but, not withstanding, oh my dear Pangloss! my beloved master! thou greatest of philosophers! that ever I should live to see thee hanged, without knowing for what! O my dear Anabaptist, thou best of men, that it should be thy fate to be drowned in the very harbor! O Miss Cunegund, you mirror of young ladies! that it should be your fate to have your body ripped open!"
He was making the best of his way from the place where he had been preached to, whipped, absolved and blessed, when he was accosted by an old woman, who said to him, "Take courage, child, and follow me."