I knew it was coming, and I watched the pieces lock into place throughout episode 9, even to the point that, when it was imminent, I knew how they would play it, and so they did. But Creighton Bernette’s suicide, though the dominant element of this episode, was not the only story bearing the sense of a closure.
It was there from the outset, an open of Annie and Sonny, sat by the river, breaking apart. It was only that Annie, for a while, wanted to play with other musicians, extend herself. Temporarily. But Sonny, demonstrating that horribly male instinct to want to control, made it about them and threw her out.
Naturally, he rapidly decides it was all a mistake, starts trying to build bridges back, but it’s like that first punch: nothing can ever really be trusted afterwards. Annie drifts from street gig to street gig, Sonny, when she decides to make peace, has already built a band round himself. I feel no fear for Annie, she’s far too obviously talented, and she arouses the instinct to care for her, look after her.
But, at least for a moment, Annie and Sonny’s path has forked and their joint story is at an end.
So too, it would seem, is Janette Desautel’s. Her parents are down from New York, to see the wreck of her restaurant, to plant the seed of her coming home, giving up being a chef. She rejects the idea, not wanting a future of marrying a lawyer and pumping out grandchildren. The guerilla chef business is going great guns, that is, until the outdoor gig she’s catering very successfully dissolves in torrential rain.
The roof’s fallen in on her apartment, she turns up at Davis’s to find the end of a massive, post-Mardi Gras party (for musicians and hot women, one of whom is not only amazingly gorgeous but is a stunning singer), to which she was not invited.
They spend the night in bed anyway, but in the morning, Janette talks about leaving, going back to New York. She loves New Orleans but it has beaten her.
LaDonna and Antoine did indeed fuck last week (don’t look at me, that was LaDonna’s exact word) but it was purely a Mardi Gras thing. She’s got Toni Bernette pushing her to agree an autopsy, pursue Damo’s death, find outwhodunnit, but she won’t take it no further. What does it matter, finding someone to hate, this is hard enough as it is? A guy from Texas, a roofer, turns up, set to fix the bar roof, and in two days too, with no extra payment. True, the family mausoleum has been ruined by Katrina and it’ll take $2,000 non-insured cash to fix it. She’s got $1,100 and won’t borrow the rest for her husband. At least, until Antoine lends her money, at which point, rather than be indebted to him, she phones up Larry.
Not all storylines, or should I say current concerns, are being put to bed. Big Chief Albert Lambreaux is preparing for the Tribe to march on St Joseph’s Night. Community Officer Lt Colson comes round to try to broker peace. This is the first we learn that the Tribes and their parades aren’t necessarily a blessing: last year, massive trouble was caused. The Indians do as they please, they don’t get Licences, they march through traffic, they ignore Police suggestions. But Colson can see nothing he’s saying will change Albert’s mind, even though he’s a marked man. That one’s for next week’s finale, with Albert commenting that sometimes the most important battles are the ones you know you won’t win.
But throughout all this is the rising, or descending arc of Crei Bernette’s ending. We see him in the lecture hall, trying to get an audience of young men and women interested in an important and vital book from the end of the Nineteenth Century. John Goodman exudes a massive calm and patience in the face of their complete indifference and unwillingness to understand what he’s saying. The book is beyond their experience as 21st Century students, they try to deal with it by pigeonholing it in modern terms, they don’t want to know.
At home, Crei manages two sentences of his novel, not even a line, then deletes them. He types rubbish when Sofia appears, to call him to dinner, so that he looks like working. Later, we just see a lit, blank screen.
It’s all there to see. Then one final day: an extra cheerful farewell to Toni, with a long kiss. Telling Soofia how pretty she looks. Wandering and drifting, savouring New Orleans. $20 in the hat for Annie’s playing. Taking a ferryboat ride across the river. Bumming a cigarette, telling the guy he gets it from to never let anyone tell him to quit. Standing by the rail, taking deep drags as the boat moves away from the dock. The guy with the pack looks across to him, moves away for a few seconds, returns. There’s no-one by the rail. Toni and Sofia are getting worried. Crei’s car is the only one left in the car park at night.
Crei’s story is over. It’s the second of two stops in Toni’s story in one episode, but this one is also a beginning. Life after suicide: how much did Crei really care about his wife and daughter that he puts this on them? We have one more week in which to find out and then it’ll be season 2.
But there was music in this episode, lots of it, live, hot, alive, keeping the flame burning even in an episode in which flames were going out.
This was a Ferengi story, and you know how I feel about Ferengi stories. In this one, Grand Negus Zek and Ishka, aka Moogie, turn up at DS9 because Zek has been deposed for pushing to allow Ferengi females to wear clothes and make profit. The new, Acting Grand Negus, to be confirmed in three days time, is Brunt. Zek plans to fight back. This involves producing Ishka to a leading and influential FCA member to show that letting females become human beings will be profitable. Unfortunately, Quark causes Ishka to have a heart attack, so another financially brilliant female has to be found at short notice. Since there isn’t one available, Quark undergoes a sex-change operation and drags up.
If you thought this was bad up to that point, and it was, from that moment on it was a hideous embarrassment, offensive and cliched at every point, all the way into the ridiculous close. From abut halfway through, I just wanted to switch this episode off and not have to see the rest of it. I wish I had. The absolute nadir. Everyone involved in it should have been put against a wall and shot.
I’m parceling this out carefully, holding onto each episode because I know there aren’t going to be many more, although by the time of the last episode I don’t doubt I’ll be diving in anxiously, to know.
But for the moment, the pattern holds. Pieces in motion, building up, gradual connections being revealed, red herrings being exposed, and then returned to the table. With only eight episodes now as the apparent Danish norm, less time can be spared to leave us in the miasma. Though I still have no idea what is going on, some threads are already beginning to tighten.
We begin with Daniel Bjork, the taxi driver and wife-threatener, driving across the titular bridge into Sweden, only to be stopped and robbed of three mysterious boxes by three heavily-armed and black-balaclavaed guys. Whatever has been stolen is clearly illicit, and it’s upset the boss, who is the father of the little girl in hospital terrified of clowns.
Daniel succeeds in making it clear that he didn’t shop the delivery. Offscreen, the culprit is found and onscreen Daddy shoots him. Near the end, it’s implied he’s connected to the murder of Margrethe Thormod, to which I’ll come shortly. He also takes a call from his sister (?) Sarah, who’s with the girl at the hospital, with the good news that the kid can come home. But that’s before the episode ending on Sarah being tasered and the kid’s room being invaded by… a clown.
No, not Patrik Twin, who’s dead, remember. Early on, Richard Twin has broadcast about being kidnapped by Red October to deny involvement in Patrik’s murder, except that Saga and Henrik soon get out of him that Red October don’t actually exist, he made them up to get ahead in his career. So, whilst Patrik is still dead and murdered (and the possibility, which I overlooked last week, that it was actually Richard who got electrocuted and Patrik trying to impersonate him permanently would appear to be refuted), he has to be decoupled from the Thormod case and considered the target in his own right.
Meanwhile, the suspicious Niels Thormod moves nearer to the centre of things. No, he doesn’t know any hospital clowns, but he does know more than he’s letting on about. His secretary, Suzanne, gets drawn into things, is interviewed at Copenhagen Police HQ, where Saga inadvertently lets slip that Suzanne is being considered as a suspect.
But before we go there, let’s just tick off the last still-seemingly-extraneous strand, that of Sofie and Cristoffer and Harriet’s community. There’s been a burglary, a stolen laptop and camera, and the guy who’s lost them wants a Neighbourhood Watch patrol that Harriet refuses. Sofie finds the missing goods in Cristoffer’s chest of drawers and doesn’t believe his denials. Via Friendly – and creepy – Frank the goods are returned to the aggrieved victim, who doesn’t believe for one moment they were dumped in the forest. Odds are that Cristoffer’s clean: his new girlfriend shows him her dressing up costumes and then, when Suspicious Neighbour is ‘taking a walk’ at night, creeps up and clonks him from behind. Hmm.
I’ve come thus far without mentioning Saga or Henrik because I wanted to concentrate upon them. The case progresses. Taariq won’t help them unless they lift his deportation, so a cunning plot sees him taken off to the Delivery Centre for actual deportation, until a clearly morally divided Henrik lets him run. It’s a con: the Police have planted a tracker on him, to see where, and to whom, he runs. It backfires; the tracker is in Taariq’s gold watch, which he trades for a gun, dropping off the grid. He has some information that someone wants: this is the contact that brings in the gangster father as an implied suspect.
To get to this point, a lot had has to happen that stirs the emotional side of things. There’s a brief, and blackly hilarious, scene where Saga, after last week’s panic attack, checks herself into therapy. Her therapist asks for the background, and Saga gives it at high speed, a wonderfully outlandish summary of series 3 and the end of series 2, not to mention the family stuff, to which the therapist offers a rather bemused suggestion that they’ve got a lot to work through.
Meanwhile, in Sweden, preparing for their pickpocket trick, Ida and Julia hit a disaster as Ida is run down by a bike, and the pair are arrested before they can get out of the hospital. Back in Copenhagen, they’re interrogated but have no information. Rather than have them sleep overnight in different cells – and Ida has definite separation anxiety about being able to see her sister – Henrik takes them to his home, feeds them, lets them stay overnight.
Saga clearly doesn’t approve, having jumped to exactly the same conclusion we all have, but Henrik firmly denies it: if they were miraculously his daughters, he would recognise them and they would recognise him. No need for DNA. Mind you, they did give false names to the hospital… He takes them to Social Services the next morning but when he gets home at night, they’re sat outside, and they can stay another night. Saga won’t, not with them there. She’s still on the case of Henrik’s daughters, whilst he’s struggling to see them as dead, causing another hallucination, of them pressing on his chest.
And he’s got something else to think of now: Saga’s pregnant.
Of course, she intends an abortion, though Henrik wants to talk about it. You can’t say she hasn’t got the right idea, given her own issues. She’s not the first person you’d think of as a perfect mother. But: Linn the Troll forces her to accept boxes of belongings from her late and unlamented mother. Saga takes them to a storage container and dumps them… but then she opens a box, finds memorabilia of her sister Jennifer and a bunch of old photos of the children, each of them with Saga’s head cut out.
I don’t know where this is going, none of this. I strongly suspect that I’m going to be bawling my eyes out at a lot of it. The story’s coming to an end and it’s not going to be in a good place. For either of Saga or Henrik, I suspect.
Oh, but this takes me back.
I first saw Gregory’s Girl in the cinema either late in 1980 or early 1981, and during the first half of the Eighties I would go on to pay to see it again a good five times, either in its own rate or as the bottom half of probably the best cinema bill I ever saw, supporting Chariots of Fire (not half bad a film to watch multiple times). In those days before VHS and DVD, even with more films shown on general TV channels than we get nowadays, that’s what you had to do. Gregory’s Girl was the second film from Scottish Director and Writer Bill Forsyth, and I’m semi-certain that I was lucky enough to see his first, That Sinking Feeling, one Sunday BBC2 night before catching this. Several of That Sinking Feeling‘s cast, former members of Glasgow Youth Theatre, reappear in Gregory, mainly in supporting roles, with only one of the three principal roles a former alumni. This is the title role of Gregory Underwood, played by John Gordon Sinclair (credited under his real name of Gordon John Sinclair: Equity, eh?).
The other two main parts go to Dee Hepburn (discovered dancing in a TV commercial) and Altered Images singer Clare Grogan (credited under her original spelling of Claire but mostly known in her acting career as C.P. Grogan: Equity, eh?). They’re also supported by a cast of adults, in minor but vital roles, mostly teachers, amongst whom is best known is comedian Chic Murray, making a peach of a cameo as the Headmaster.
The film is a time-bubble, the hairstyles of the boys and the skirt-lengths of the girls locking it into place as inexorably as anything produced during the Swinging Sixties. It’s gentle, unhurried, almost meandering, a miniaturist of a film composed of small scenes and moments, not all of which are connected to the theme, that give it a very naturalist tone, as well as allowing for some brilliant, low-key absurdism. It’s a shoestring film, in which members of the cast brought their own clothes in to wear.
But though perhaps its archaic nature isn’t solely confined to the look of things, it’s also timeless. It’s a film – very much a boy’s film, mind you – about that time when boys are just starting to notice that girls are different from them but also to start wanting to get some idea of what that difference entails. Forsyth’s individuality lies in directing that urge away from the simply sexual by overlaying with that peculiar teenage anxiety about everything you don’t know – what do you talk to girls about, anyway? – and concentrating on that innocence without any overt crudity.
Girls are, of course, different. For one thing, they’re already much more mature, more sophisticated, and that’s another way in which this is a boy’s film. It’s about the first stage of a journey on which the girls are already three bus-stops ahead.
Reducing the story to a simple outline involves stripping away much of the subtlety and all of the wonderful irrelevance, but let’s do that anyway. Gregory, a Fourth Year boy, gangly, awkward, head-in-the-clouds, is non-scoring striker for a school football team that’s just lost eight matches in a row. Coach Phil Menzies (Jake D’Arcy: real name John Sinclair: Equity, eh?) is growing despondent. He drops goalkeeper Andy (Robert Buchanan), shoves Gregory into the nets and holds trials for a new striker.
The trials are invaded by Dorothy (Hepburn), who, despite being a girl, is better than all the rest out together. She makes the team. She’s also attractive, with long hair, a neat figure and great legs. Gregory is smitten. Being a boy of that age, as well as being particularly awkward in himself, he does nothing more at first than go on about her to his friends, Andy, silent Charlie and Steve, the star of cookery classes.
But, under the tutelage of his precocious and utterly calm 10-year old sister Madeleine (Allison Forster), Gregory manages to work up the nerve to ask Dorothy out. On a date. Which she readily accepts, despite it being abundantly clear, without nastiness or anything overt, that she isn’t interested in him in the slightest.
So we’re not surprised that Dorothy doesn’t turn up. However, Carol does. She gets Gregory to walk her to the chipshop, where she hands him over to Margo. Who gets him to walk a bit further to where we already know Susan (Grogan) is dressed up rather nicely and waiting for him. We’ve had only one scene where Dorothy and Susan talk, during dissection in Biology classes, into which it’s slipped, casually, that Susan thinks Gregory has a nice laugh. And there’s been a second scene, silent, through windows, of the pair discussing something that we now understand, even as Susan explains to Gregory: It’s just the way girls work. They help each other.
So Susan and Gregory go down the Country Park, and Gregory still doesn’t know what to talk about, until he stops trying to please her and indulges his silly self in a wonderfully subtle visual pun, because he shows Susan how to dance, by lying down on your back, shuffling your shoulders and waving your arms about, and she lies down beside him, and gives in to the moment, and the music starts up and they ‘dance’ on towards sunset, relaxed in each other’s company, for isn’t the term ‘horizontal dancing’ another euphemism for sex?
And it takes them into that first stage of the relationship, where the thrill is being around someone, sharing things that, however unimportant they may be, are important because they’re shared, and become cause for giggles unintelligible to outsiders: A million and nine: How come you know all the good numbers?
By then, they’re kissing, and whilst it’s perhaps a touch psychologically improbable this soon, Gregory’s relaxed enough to make jokes about it, though his joke – that’s better, you’ve finally stopped kissing me like I was your aunt at Xmas: (kiss): but what’s my aunt going to say when I kiss her at Xmas? – is perfectly in Gregory’s wheelhouse.
Meanwhile, Dorothy jogs on her evening run, perfectly self-contained, not even thinking of Gregory, whilst Madeleine sums it all up by sympathising with her daft, awkward, but somehow not all that bad, hope for him yet brother: Poor Gregory. It’s awful being in Love. Especially when you don’t know which girl you’re in love with.
Even an outline of the story requires so many details even as it leaves so many more out. And some of these are little moments of sheer genius, a few seconds of film that build up this real world into something as real and absurd as the one we lie in every day, below the radar of events. And that’s without the touches that envelop the world that means nothing to Gregory and his misdirected romance.
Late on, there’s a silent cameo of Phil Menzies – who has only been seen as obsessed with his football – inside a greenhouse, tending plants, spraying them and, guess what, talking to them. There’s a found moment, when Chic Murray, hired for only one scene as the Head, was noodling a jaunty little melody on a piano in the rehearsal room that Forsyth had him do for the film: about thirty seconds of serene absorption, nifty little fingerwork, then a turn, as much to the camera as to the kids looking in the door, and the golden words, “Off you go, you small boys.”
And there’s the penguin. Everyone mentions the penguin. It’s still hilarious, nearly forty years later, a moment of inspiration, of genius.
I’ve alluded throughout this review to this being a boy’s story and it’s got to be acknowledged. Good as it is, sweet and funny and kind as it is, this is all about Gregory, and even the two young women of the story, in all their self-sufficiency, their obviously greater maturity, their effortless independence, are only a part of the story as defined in their relationship with Gregory.
The film would fail the Bechdel Test with a crunch. There are very few conversations between the women and none that don’t relate to the men – boys rather – around them. And whilst Susan acts upon her own agency, with the help of her friends, it is only to get herself a boyfriend, and the best that can be said of it is, and this is where the Oldham Coliseum adaptation crashed so spectacularly, it is Gregory specifically in whom she is interested.
True, the girls are positioned as being more mature than the boys, who are all comic figures to one degree or another, are treated more respectfully, especially Dorothy, who is always well aware of her own qualities. But ultimately, this is about Gregory, and what he wants and what he learns and Susan is his reward for looking a little below the surface. It’s still a wonderful film, whose refusal to go beyond a typically ignorant, near cartoon view of sex and dating (on the boy’s side) is what gives it wisdom at it’s core, and you can argue that it’s major problem in this respect was that nobody was making (or being allowed to make?) anything comparable from a female perspective. But in this day and age, I’m just that little bit too aware that this is a boy’s story.
Still, it’s one of the few to really represent my bit of boy’s life, without the Susan in it? I was very like Gregory in some respects, even down to the football lack-of-talent.
John Gordon Sinclair has gone on to a long and bust career. I’ve not followed it, and especially not watched the apparently awful twenty-years-later sequel, Gregory’s Two Girls. What I have seen him in suggests that this film still is, and probably always will be, the best thing he’s ever done.
Dee Hepburn still acts, and was in Crossroads for four years. At first, her career was held up by crippling shyness, especially as the tabloid press wanted to see her as a fit bird in sexy clothing, which she loathed,
Clare Grogan was successful with Altered Images, and was in Red Dwarf. She still performs and she’s still bloody gorgeous.
Bill Forsyth made two more Scotland set films, both highly regarded (one of which we’ll have here one Sunday) before moving to America, which killed his career. He hasn’t directed since Gregory’s Two Girls.
In a list of ten films I would take with me to a desert island, Gregory’s Girl is a must.
I’m tired, I’m stressed, I’m jittery as f-u-c-k, what shall I do? I know – let’s go on an imaginary holiday.
Let’s go up to the Lakes again, in my imagination. Let’s pretend there was one more week, one more Sunday to Friday, divided between Ambleside and Keswick, on which the sun shines but the fells are cool, the atmosphere is clear and the views and the photographs are fantastic.
Let’s pretend that this holiday is the big one, the one that catches all the places I never got to go properly, the summits under cloud, the views unseen. All of them swept up in one go, in my prime of twenty odd years ago, before the knee became a problem.
So the car is packed, only because this is imagination I can cheat. Suitcase and rucksack, anorak, waterproofs and boots, but we don’t need the cassette player to provide me with music in the evenings, and instead I carry my mp3 player and headphones, and there’s a small space for my laptop, instead of a writing pad and spare pens.
And the alarm goes on a Sunday morning in North Reddish, Stockport. I’ve been to Old Trafford yesterday afternoon and United have won, won in the style we’ve lost, terrified the opposition into submission, reaffirming our position at the top of the Premier League. The tank is full of petrol, and here I go.
Romance is an essential component of the imagination, so let’s forego the latterday, get there as fast as I can route of motorways, and revert to that old AA ‘Manchester to the Lake District avoiding the A6’ route that my Uncle obtained in the Sixties, and which I still know by heart.
Leave through North Manchester, bypassing Bury on the M66, to Rossendale and that dual carriageway route that by-passes the drive over the moors to and through Burnley. Then it’s up through Pendle and Nelson and cross-country, briefly returning to civilisation by driving through Gisburn.
At Long Preston, I join the long A65, along the edge of the Limestone Country, through Settle where Dad would always settle for a doze in the car, under the massive presence of Ingleborough, one of a tiny handful of non-Lake District mountains I have climbed, towards Kirby Lonsdale and beyond, until I cross the M6 and make for Milnthorpe. In my imagination, the Flying Dutchman is still open, offering the sausage butties that I was never allowed at home, and just as all our three visits in 1966, ‘Strangers in the Night’ is playing as we walk in, because for a moment I am surrounded by people long gone.
Beyond Milnthorpe I head north for the long road across the foot of the Lakes. The full run would take me through such places as Haverthwaite, Lindale and Greenodd and to the moors from which there’s that glorious view of Dow Crag and Coniston Old Man, and along the Water.
But this time I regretfully turn off at Newby Bridge and follow Windermere all the way to Ambleside, because even in imagination time is not elastic. The hotel that overlooks the park has my old room available and they haven’t yet jacked up the price for singletons, so I unload my case and stuff, change into my walking trousers and boots and set off up the street.
My starter walk is Wansfell, for which I walk down the main street towards Windermere before diverting off along Old Lake Road and starting to gain height. This was a starter walk once, a sunny afternoon of the kind we have today and I ascended to the ridge via the first of Wainwright’s options from Blue Hill Road, which disappeared with Jesty. No wonder: it was a poor line that got tangled in rough fellside, leaving me no option but to traverse awkwardly over to the other path (now repaired), to emerge on Wansfell Pike above the most spectacular full-length view of Windermere, exactly the right distance below.
With my camera still in the hotel room.
So now I’ve got my camera, and the shot turns out to be perfect, of course. The problem with Wansfell is that Wansfell Pike is such a perfect summit in a perfect position, but Wansfell is higher and further back, involving a stroll along the ridge with the dull views directly ahead.
The descent is by the same route, save that I drop down further to cross Stock Ghyll, picking up the lane that leads directly into the heart of Ambleside.
A quiet evening, a nice dinner, a pint in the Ambleside Tavern and some music.
I sleep well and eat a cooked breakfast on Monday, complete with tea rather than coffee at the table. I am sensitive about the kinds of coffee you get in Lake District hotels and guesthouses. Today’s plan does not involve severe effort, so I have time to wander Ambleside and drink in the atmosphere.
Then off to Grasmere to do the same thing, and to pay my traditional visit to the Heaton Cooper Studio, which is as much a part of my Lakeland holidays as trips to Ravenglass and the Ratty were for family holidays. There isn’t room for a trip westwards this time, unless I retrospectively decide to extend the holiday backwards, travel up on Saturday, spend my first Saturday night in the Lakes since my Wedding Day, and go for a ride on Sunday.
Either way, this is Monday, I’ve had a hot tuna melt for lunch and it’s time to drive round to get as close as parking on the main road will place me to the Travellers Rest Hotel.
Seat Sandal was a walk on a rainy, cloudy day that offered no entertainment, but was on ground both familiar from previous a visit, and easy to follow. We’d ascended by Little Tongue Gill on a day that turned to rain, heading for Grisedale Pass, though we’d stopped at the hause above Grisedale Tarn, which is a little lower than the official head of the Pass.
They were rebuilding the path along Little Tongue Gill that day, had got about two-thirds of the way to the top. The contrast was striking: when I reached the end of the paved area, I stepped into a foot deep trench.
The cloud was down on the hause and the Tarn invisible, but today the sky is clear. Cloud dots the sky in clumps. I take another photo and turn to the steep slope to my left. There’s an initial scramble, to the right of the wall, which rapidly eases off. No need to guess where to cross the wall and stroll to the broad, flat cairn this time.
It’s a view I’ve never seen, not an extensive or brilliant one, even to the open west, but one of four denied by rain and cloud that I am ticking off. And under the sun, there is no need to return to the hause, to traverse across the top of Great Tongue and descend its length. To do so would bring back memories of that first visit: I took the lead descending, on my own, ten yards in front of everyone else, and so full of energy that I could have turned round at the bottom and done it all over again immediately.
But on such a day there’s no reason not to descend by the south western cairn and the slowly-narrowing ridge, with the Vale of Grasmere below and views all the way. There’s time to enjoy the return.
Tuesday is traditionally transition day. I check out of my first venue of the week and cross Dunmail Raise, this time northerly, to check in at Keswick. I have had a number of regular places here over the years, and my last place is my favourite, but this is taking place entirely within my own head, so once again a room in a hotel overlooking the park becomes available, and when I get back from my walks, a parking space within easy distance will also miraculously appear.
I have two small fells within easy reach of Keswick to reascend, on either side of Bassenthwaite Lake: the question is which to take first. I leave Keswick onto the A656, along the east shore of Bass, and when the road swings round in the direction of Cockermouth, I turn into the woods and the narrow, undulating roads to Wythop.
This was another Sunday afternoon starter walk, a long time ago. I made an afternoon out of it by taking in Ling Fell and Sale Fell together, the improbable ‘Sentinels of Wythop’
Ling Fell, on the far side of the village, deep in the narrow cleft of its valley and its mill-race, is round, unlovely and uninteresting. It’s not in my mind to return, but the only parking is on the high road, on that side of the valley, so I have to get close to it.
That’s not too bad, except for when it means coming back, because Sale Fell is on the other side of the valley and it’s accessible from the lower road. So I march up the valley, drop down via the cross road, deep in the woods of the lower Wythop Valley, and under the same sun as the day I walked here in reality, follow the road up to the farm, Kelswick, at the furthest extent of the valley.
A clear, well-angled path doubles back towards the cleft on the ridge, but this time, when I arrive at the top of the path, the weather doesn’t explode into a cloudburst. I am free to wander up my gentle green ridge, enjoying the vista across Bass Lake and the side-on view of Skiddaw, rising above the Long Side ridge. I say wander: last time, I was marching into the teeth of a howling wind, my head bowed, my glasses removed to my anorak pocket (there was nothing to see so it didn’t matter that I couldn’t see it).
But I’m constitutionally incapable of walking slowly unless the terrain won’t let me pass apace, so I stride out contentedly, contrasting the openness of this climb with the claustrophobia of my real visit. There’s a mixture of paths nowadays, whereas I remember just the open ridge – not that I was the most reliable witness that day!
Then, I reached the tiny cairn, walked round it and started heading back without a pause. I had not been beaten. Now, I can sit down on the springy turf, doff the rucksack, have a drink, admire the view at last.
Two down, two to go, and one within sight.
Down the ridge again. I don’t have to walk back to Kelswick, there’s a path dropping directly down, beside the wall, onto the lower road, down which I march to the village. Time for a sit on the bridge wall, admiring the mill race: perhaps this time the sky is bright enough to enable a decent picture to be taken of it.
An unwelcome stroll back uphill to the car, where I sit for half an hour, enjoying the sandwiches I bought in Keswick and then, without having removed my walking boots, I belt up, reverse out and drop back through Wythop to the main A656 again. But not to return to Keswick. Instead, I angle round the quiet roads beyond the foot of Bass Lake, aiming for the A56 Carlisle Road, and turn Keswick-wards there.
Just as Sale Fell is part of a pair with Ling Fell, separated by the Wythop Valley, it’s part of a pair with the third of my missing views, separated by Bass Lake itself. This is Dodd, that tree-clouded outlier of the Skiddaw Range, only not so tree-clouded now, after a mass-felling sometime prior to 1999. Like Seat Sandal, this was a walk for a wet day that otherwise gave me nothing to do: on a day with no views, what better fell to climb than one from which there were no views to begin with?
That was one of the few days on which Wainwright failed me, his ascent from Dancing Gate proving impossible to follow after less than a quarter-mile. I ended up struggling uphill through trees, never my favourite method of approach, until I emerged on a forest road, from where I threaded together a very heavy-legged approach to the little path onto the wooded top. There were pale glimpses of the Lake below, but nothing else.
Rather than return that way, I descended to Long Doors and began to march downhill. It came on to rain, but I had established a metronomic rhythm, left – right, left – right, without need to pause or halt, all down the simple gradient to the cafe, and all down the A56, using up little or no energy, until the car came in sight.
There’ll be none of that today. Downhill marches are one thing and regular movements are easily attainable on regular ground, but even at my most enduring peak, the same effect isn’t going to occur going uphill. Unless I manage that even, slow-measured tread I struck that time on the Long Side ridge, and that eats up both distance and time, because it’s slow.
Steadily, I gain height, in the tuck of land between the steep sides of Dodd and Carl Side, until Long Doors, when I can escape right and round, into the open. Now Dodd’s summit is clear and warm, and I can enjoy the view even Wainwright couldn’t, without even having to stretch up on my toes.
I’ve done this kind of split-walk expedition on only a couple of occasions before, once by design, the other on impulse. The second half of it is always a bit odd, psychologically, and is slower. Once back at the car the first time, both mind and body relax, automatically: the energetic stuff is over, time to kick-back. Then going out again, even with the reminder that these are walking boots pressing down upon the accelerator and clutch pedals, not the softness of trainers, is harder to do. Even on simple walks like this, where for once I have no more feasible plans than returning to the car by the identical route. Trodden ground indeed.
It’s an early return to the hotel so I slip out into the Park, hire a putter and tackle the Crazy Golf. With long practice, I got the round down to about 39 shots: I reckon that, letting a bit of realism creep in, the rust will be enough to push me back to about 45. Then Tuesday night in Keswick. Beef-filled Yorkshire Pudding and a pint at the Oddfellow’s Arms.
Wednesday is, in a sense, a free day. They’re all free days, really, but there is only one walk remaining to complete sweeping in those fells on my list. I can go anywhere I want, without compulsion. Shall it be flood-ravaged Cockermouth, restored in my memories, and a quiet half hour browsing in The New Bookshop before driving down Lorton and exploring the Buttermere Valley? Or Patterdale via Dockray and Matterdale, into the pre-flood Glenridding, where I was married? Or further east yet, out and round into Mardale and Haweswater?
In light of Thursday’s plan, east it shall be, and by this I mean the Far Eastern Fells, and distant Mardale. I’m going on a nostalgia trip. It’s not the Second Drought Summer that re-calls me, 1984 and walking through the remnants of Mardale Green. Let the lake be full, let all the bare strips, the untidy, ugly tidemarks be covered in good honest water. I m going back to 1975.
It was the first and only time the family had holidayed outside that rigid arc from Ambleside to Wasdale, and for my benefit. I had seen Ullswater and Patterdale only once, and at last Haweswater/Mardale wasn’t too far to drive. We came here on Wednesday. On Friday, we made an attempt on Helvellyn via Striding Edge that only I completed, symbolising the breach I’d made by announcing I would go on no more family holidays after this. The last summit I reached with them was Harter Fell, Mardale.
It’s a simple re-tracing of steps: the left-hand fork beyond the roadhead, the steepish zig-zags to where the corner turns into that green hanging valley beneath Gatescarth Pass, the meandering, silent ascent of relaid stone, the broad grass col. Gatescarth, for some reason, always feels a lonely place, further away from your fellow man than other spots in the Lakes.
From here, in 1975, I had the Wainwright, I had the lead. It wasn’t really needed: there was no path on this flank, but a wire fence led up to Adam-a-Seat, before turning across the fellside, tracking an old boundary to the summit ridge, just short of the third cairn and its fabled full-length view of Haweswater.
Now, and since before 1988, there’s been an already-eroded path, direct from Gatescarth to this wall-corner, even of gradient, easy of ascent. In sunlight, and free of the wind that brought the unnecessary warning not to go too near the edge to get my photo – as if I, with my vertigo, would ever get that close! – it’s the highlight of the walk. Then the long stroll over the flat summit to the distant main cairn.
In 1975, something amazing happened here, that I was in no way responsible for. My family, who had never yet reached a destination without walking back exactly the same way they’d come, decided to descend to Nan Bield Pass and return by Small Water!
Dark cloud massed over Ill Bell, Kentmere Reservoir was cold and still as steel. We descended to Mardale via Small Water, the first photo I had ever seen looking down towards Haweswater, spread out before us. It had become a cold afternoon, since Gatescarth onwards, and we were well wrapped up against rain that never came.
All my holidays alone built up to the Big Walk on Thursday, and the slow retreat home on Friday. There’s one walk, one summit left, from which the view was obscured by clouds (yes, that is a Pink Floyd reference: please do not hold it against me).
This is why I went east on Wednesday, not west. Today is the day to go to Buttermere because I’m going to climb High Stile.
To drive, I’d say my favourite Pass is Whinlatter, because of its ease and simple gradients, but if I’m heading for the Buttermere Valley itself, and an early start is mandated for a long walk, then the only way to go is Newlands. This side of the Pass is not too bad, until the very end: in any car I’ve driven I’ve tried to get up some speed on the straight section, to help me up the last, steep bit to the summit, but Newlands has a ninety degree right hand bend just below that bit, on which all momentum is lost, requiring a laboured limp to the top, in second gear if I’m lucky. Not even imagination can overcome that turn, and I have never reached Newlands Hause without pulling in to let the engine recover.
One of these days, perhaps in another imaginary holiday, I’ll leave the car here and take off up one of the paths from the Hause. Knott Rigg is easy walking, trainers and jeans stuff apparently, though I’d want the boots for the ridge to Ard Crags which would have to be part of the walk.
Once the engine has had time to cool down, it’s down to Buttermere Village, and this is the brake’s turn to take the strain. Because it’s downhill all the way, and it’s steep downhill, and I have never tried to come up this side and never will, not even in my head. At the Village, I’m going to need to park for the day, so let’s assume that the quarry just down the road towards Crummock Water is still operating, and I can get my gear on there.
This is a straight repeat, and it’s a repeat of a walk I’ve not that long ago written about, so let’s insert a link here and not describe the route in the same detail. My memories glide through the long diagonal ascent across Red Pike’s foreground, the rocky ledges that lead to Bleaberry Tarn’s outlet, and scaling the path to Red Pike, only this time the light stays good, the sky is well above my head, there is nothing to darken the day, or enforce any gloom, and I can relish the view.
And there are no concerns about disappearing into the cloud on High Stile, no issues about where the path might lead and whether I’m getting too close to invisible cliffs. So I make it to the summit of High Stile for a second time and I can see all there is to see, and the purpose of this holiday is fulfilled.
I wander downhill to the vantage point that offers me dramatic, near vertical views of Buttermere Village, and take multiple photos. Then it’s time for the long retreat, the narrow ridge to High Crag, the steep continuation to Scarth Gap, the scramble downhill. This time, there’s no One Man and his Dog in the valley below, and I reach ground level and take my time strolling along the lakeshore path, Buttermere lapping gently beside me, until I turn across the fields, back to Buttermere Village, and the car.
This being my imagination, I have enough time to drive along beside Crummock Water, and through gentle, spacious Lorton, to Cockermouth. Like all things in this week, this is the Cockermouth of old, undamaged by floods, and The New Bookshop is what it was, and I have time to browse in the way I used to before I became used to instant access through Amazon and eBay.
And because this is my fantasy, and it can take in whatever I want, there are books that never existed, there for me to buy. I very rarely came out of The New Bookshop without three purchases. So, one at a time, I discover that there is a fourth Master Li and Number Ten Ox story from Barry Hughart, another Dortmunder Gang book from Donald E Westlake and, most precious of all, one final Sam Vimes and the City Watch book from dear old Terry Pratchett, written at the peak of his powers, before the first onset of the Alzheimers, and it’s written to incorporate the ending I had envisaged as a perfect Last Discworld Book, only Terry does so much more with my skeleton than I’d ever imagined possible. I know what I’m going to be doing this evening.
And it’s morning, and it’s time to go home. Register out, drive round Keswick. Take the Penrith road, but cut through Matterdale, through unravaged Glendridding, and over Kirkstone Pass. It’s far too early for the Inn to be open but I stop and wander around, making the goodbye as long as I can because I don’t know how long it will be before I can be here again.
Then down, through Troutbeck, without stopping, through Kendal, with one final stroll and one final bookshop because in my imagination the walls of my pokey little flat are elastic and I can bring in an infinite number of book, especially imaginary ones.
But at long last, it’s the M6, south and home. No drawing it out through Settle and Gisburn, just M6, M61, M602 and Salford and Manchester’s inner ring road, and Hyde Road, Reddish Lane.
And I am back to reality, to where I really live, not where I used to live, from which I departed on this Imaginary Holiday.
I think I’ll do this again.
Though you might be forgiven for thinking otherwise, Eagle was not the only boy’s comic I used to devour in my personal Golden Age of the Sixties. It’s just the one of which I had the most clear and comprehensive memories, spurring me to pursue it, even to the extent of a dozen years worth of issues before I ever read my first.
Everything else exists in just brief flashes, odd, generic scenes of old but exciting series: Kelly’s Eye, The Steel Claw, Robot Archie, The Spider… ah, the Spider! I am still in awe at the discovery that some of those stories I relished back then, in 1965 or so, when we still lived at Brigham Street, were being written by Jerry Seigel, the Jerry Seigel, creator of Superman. Writing for _Lion_. I would love to grab hold of those old comics, to read them and try to see in them the work of the man who created American comics.
What comics did I read? The ones of my real childhood are unimportant to me: Robin, of course, and TV Comic are the ones I do remember, not that I would want to re-read any of these, except for the extraordinarily anarchic ‘Goon Show’ series, which really ought to be reprinted for us fans.
But of the older titles? Though I remember several recurring series from Victor and Hornet, and enjoying them then, I have curiously little attachment to their memories, and no idea which title housed which character I recall. The D.C.Thompson titles looked and felt cheap: slim, brittle, regimented in even rectangular panels in static tiers, and that permeates my recollections.
There’s only one story I would like to re-read, and that was one of which I never reached the end. This was a Wilson story, William Wilson, the mystery recluse and super-sportsman, and it involved cricket. The plane carrying the England Test party to Australia had crashed, injuring everyone. Mysteriously, a second plane with a replacement party also crashed, leaving no viable Test team. Wlison, the marvelous eccentric, put together a team of amateurs and eccentrics and weirdos who, under his unorthodox tutelage, played entertaining games and won them. Despite official MCC opposition, there was talk of offering the Tests to Wilson’s XI…
And then I gave up Victor or Hornet, whichever one it was, and never read the rest of the story. It wasn’t the only story left uncompleted by changes in my allegiances but, like my once-unfinished ‘High Quest’, it is still in my memory fifty years later.
If anyone did read that story to the end and remembers its outcome, please write!
I’m hazy on what comics I did get and which I only read when swapping with my mates. Off the top of my head, I can’t remember which comic Sergeant Hurricane (Valiant) featured in, only that it was never one of mine, but I remember getting Hurricane from its first issue, but not its contents, with the exception of its cover strip, a football series featuring the career of up and coming striker, Harry Kane (would you believe it?), nick-named ‘Hurry’, which for some reason I tried to pronounce mentally as Huhry.
But with very few exceptions, it’s the serious stories that provide me with these flashes of memory, the adventure series, the ones with a consistent, ongoing lead character. Just as with Eagle‘s features, the comedy has not worn well, and why should it? Just because I can still appreciate Laurel & Hardy as much as I did fifty years ago doesn’t mean that I am going to be in tune with cartoons and comics aimed at a ten year old’s mind and imagination.
Except that what’s caused this burst of nostalgia is a sudden recollection of a comic series that I haven’t thought of in decades.
I hold Ursula Le Guin responsible: since her death earlier this year, I have been engaged in a private re-read of all her books that I have collected, which is about 90% of her portfolio. I’m up to the non-fiction, and today, sitting in the sun with a bag of chicken nuggets, idling before my shift, I found myself reading an essay about Mark Twain, listing various of his books.
There was a reference, and a slighting one at that (with which I am in accord) to Connecticut Yankee (or A Connecticut Yankee at King Arthur’s Court). Now this has been filmed, quite successfully, with Bing Crosby playing a smoothed down version of the character – you may remember the song ‘Busy Doing Nothing’ which comes from this film, but suddenly I remembered that one of my comics did a serial adaptation of the book – updating its central character to a 1960’s motor mechanic, and having a great deal of fun with it.
I seem to remember that titular Yankee having the name Huck, or maybe it was Hiram – utterly American names I was familiar with from TV – Huckleberry Hound and The Adventures of Hiram Holliday (hell’s bells, that’s another old memory springing out at me without warning!). It’s Hank in the original, and most likely in this version, I suppose. Probably, Twain’s satire, and the stinging snipes at Arthurian times and Kings in general, were removed and the series may well have taken nothing bit the basic set-up and played with it, but the point is that it’s arrived back into my head, and I want to know. I want to read it again, to test it against fifty years, to see how much of it, if any, still hits me. Because I have this irrational belief that I would remember this the way I don’t remember most of its contemporaries.
I did read the book, once. I’d read Tom Sawyer and Huckleberry Finn, of course – at that age, the first was practically compulsory – but I tackled Yankee precisely because of the comic strip version I remembered so well. Like Ursula Le Guin, I didn’t particularly like it, and indeed resented it in places. This was substantially down to a kind of nationalism, as opposed to patriotism, an early sense of being British and being formed from the attitudes, beliefs and experiences of my country, and instinctively opposed to having our ancient past criticised by some damned upstart Yankee. I couldn’t then see that Twain was using the mythical times of Arthur to criticise contemporary Britain.
There was none of that in the strip version, or if there was it was softened for so young an audience. That this was being produced in Britain, and in an age when many of the differences between the nations in the back half of the 19th Century had decreased, it was more purely a modern versus ancient theme.
Of course, Connecticut Yankee has been adapted to comics many times, mostly straight, and apart from my memories, there’s no evidence of this version ever existing. It would have dropped out of copyright in England fifty years after Twain’s death in 1910, so the series could have used the proper title. But I can almost see actual panels in my mind, images of Hank (if they did follow the book), his wide open brash grin, his lankiness and his motor-goggles.
The chances of confirming any of this would seem to be slim. But thank you the late Ursula for triggering this rush, and your patience for reading this, especially you younger readers for whom this might as well have been in a foreign language!
You can call it a block, but that’s not how it felt. It felt like a great absence, as if my head was completely empty.
It didn’t stop me writing the regular things for this blog, and the little snippet posts that are an instant response to things around me. I seemed to be able to watch, or read, and then scramble my thoughts together. But anything remotely creative, even down to trying to conceive of something of any substance for the blog, was inaccessible.
Some of it, I think, was a side effect of the weather. Now that I’m not a kid anymore, sun and hot weather don’t do much for me. Lay it on like it’s been the past couple of weeks and, whilst its very welcome, I’ve no wish to go outside and bask in it unless I can lean back in a seat at Old Trafford and enjoy the cricket, or if you parked me on a beach in Mallorca.
But that’s not really it. There’s been some stress lately, some stuff that’s had a negative effect, that has me thinking about counselling again (ironically, this was offered by my Doctor the day before recent events blew up, and I turned it down. Pillock.) All these things have tipped my perennially fragile balance.
And it’s not fun, not at all fun to have this great emptiness in my head, completely intangible, and be unable to summon any thoughts to even begin to fill it. I’ve told my Doctor several times, and Counsellors I’ve seen, that it’s the writing that keeps me sane, and it does, and when deserts as it did…
It’s quiet at work currently. We think it’s the good weather: people are out in it, enjoying it, saying soddit, we’ll call up about the broadband, the phone later. There are some long waits, for calls, between calls. I can feel myself sitting there, unable to think, my head like a 3D desert, conscious of just existing without any actual way of moving through the minutes.
And then, without warning, in the shower this morning, getting up earlier because I have a dental check-up, there it came: a thought. A forthcoming scene, in the next chapter I have to write. A character asked me something. She says, what about (redacted): why is this different?
And I recognised it for what it was, a genuinely connective thought. That calls back to a previous incident that was merely an episode, and which now is integrated into the story, which helps to set up the long-planned emotional conclusion of the story. The guilt will not come out of left field. Its seed is planted.
I had a thought. An idea.
And I wrote it all down in the Dentist’s reception, analysing and expanding the initial idea into the areas I’ve just written about above. Oh blimey, it felt good. To think again.
And in quiet moments at work, I have written a substantial blogpost based on a memory that came to me whilst eating some early lunch, a long section of the current chapter, and now this, being rattled through during my last fifteen minute break (less than sixty seconds left). My head is full of words again. I am back to normal. I am back to keeping sane.
Something that I’m not immediately able to define has taken over me at the end of this episode, something that in a single instant stilled all the warmth and buoyancy of what came before. Not merely stilled it, but undermined it. A moment of chill, a moment of emotional shift that ran backwards across everything and everyone there had been, and left the feeling that it had always been there, and had been the only true underpinning of the day.
For this was Mardi Gras, Fat Tuesday, the first Carnival since Katrina, and everyone’s going to give themselves up to the day, because it’s Mardi Gras, because it’s what New Orleans is. Little snapshots of everyone preparing in their own way.
Not everyone. Big Chief Albert Lambreaux’s going to miss it. Vindictively, the Police are keeping him in until Ash Wednesday, as punishment for last week. Delmond’s not into it, arguing that the effort and energy should be going into clean-up instead of something he’s emotionally distant from – though it doesn’t stop him getting laid.
LaDonna’s bearing the burden of her secret, but her face is growing ever more drawn, and before the day is out she’ll need support from her ex-husband, Antoine, protecting her from the angry builder she sued, helping stock the bar, massaging her tense shoulders, kissing her deeply.
And Creighton Bernette’s not feeling it. He takes Sofie for a walk, shows her some of the disaster areas, injokes The Big Easy (an Easter Egg I had to have explained for me). The Bernettes dress up in blue, costumes, masks, wigs, it’s all fun, but Crei can’t feel it. He’s going downhill massively. He has lost faith in New Orleans. It is dead, and it’s future is to be a ghost of its past.
Annie wakes up to find Sonny about to go. They were going to do Mardi Gras together but this is do what you want day, and he wants to do it without her. He wants to get high. And he does, and he gets a fuck. Annie goes alone, in costume, a pirate wench, and I know I say it every week, but she looked gorgeous and had I been at that Mardi Gras I would have followed her around all day just to enjoy the sight, except she bumps into Davis, who’s dressed as Jean LaFitte, and they spend the day together, and have a good time, and he isn’t an arsehole once (and I couldn’t believe it either) and sees her off in a taxi, alone, after midnight, with no more than a goodnight kiss.
And there is a treatise to be written about the sexist assumptions that create scenes like that, where the woman is the good one, who retains her purity, preserves her relationship-virginity in the face of her man shagging about unheedingly, a bit of a cliche in itself, but it would not apply here because we already have a sense of Annie as she is, and this is not simplistic good girl and bad boy, Annie as she is, as the person we understand her to be, and what we foresee happening.
Janette splits the day between work and play, her mobile grill going great guns then a change into white, tight fairy-top and short skirt, purple tights and wand, and bouncing around getting drunk, until she’s singing ‘Iko Iko’ at night, but she’s still on her own.
Antoine gets back late. What happened in the bar, after? Crei reads all his recent writing, rejects it. He gets pissed and sleeps on the porch. Toni has a cow at him, in case Sofia sees him. Albert gets released. The music’s been hot and loud wherever you go. It’s been a small Mardi Gras, but it’s been Mardi Gras, without defiance or bluster, at least so it seems. New Orleans is still New Orleans.
And we close on LaDonna, a close-up, first thing Ash Wednesday morning, the Catholic mark on her forehead, smoking. First thing. Carnival is over. At the Mortuarists. A body to reclaim, to bury, a secret to be shared. And that one undemonstrative moment on which we fade is the moment of all that dominates this episode and casts everything in the minimal light it throws.
I wish I didn’t have to wait,under the terms I’ve set myself. I wish I could binge the last two episodes, here and now. Get it over with. I am dreading what is to come.
I wasn’t there. I only know one person who was there, a work colleague, who has still not returned to work. But it happened here, to us, and when you attack one of us we all stand against you, to show you that we will never let you win. You cannot beat Manchester. To steal the title from the Treme season 1 box-set, Won’t Bow Don’t Know How. We look after our own, we come together, we sing and laugh and dance and you cannot make even the slightest dent against that. And we will honour and remember our own until the world’s end.