- It appears that virginity auctions are still a thing, or at least still a thing that people claim to be doing in order to generate tabloid headlines, since I'm far from convinced that any of them are actually real. The latest one involves "Ariana, 20, from Russia" and an auction reserve of £130,000. Bidders can also bid for Ariana's 21-year-old friend and alleged fellow virgin Lolita (almost definitely her real name) at a similar price. If the same bidder should secure both ladies it's unclear how the logistics of the encounter would work, i.e. in series or in parallel, so to speak.
- You may recall my brief post in which I alluded to cricket commentator Alan Gibson's comment about New Zealander Bob Cunis' surname ("neither one thing nor the other"). Well, it turns out that Gibson may have nicked the phrase from Winston Churchill, who used it (several times, by the sound of it) to describe architect and MP Alfred Bossom. I know this because David Owen mentioned it while plugging his new book on Radio 4's Midweek on Wednesday morning. So Churchill gets dibs on coining the phrase, unless of course there are any earlier citations out there, but I think Gibson's use is funnier, just because the two words you're meant to be thinking of are slightly more sniggery.
Friday, September 30, 2016
cream pie with a cherry on top
Couple of follow-up notes on previous posts:
Wednesday, September 28, 2016
to sir with love
Just a quick follow-up to the previous post: one of the things that always grates a bit about American sports coverage is the weird ultra-reverence they have for retired sports stars, Arnold Palmer being a good example. I suppose it's what Americans have instead of the grovelling servility towards the royal family that (some) Brits have. So you have the weird phenomenon of grown men referring to slightly older grown men as "Mr Palmer", for instance at the conclusion of the Arnold Palmer Invitational golf tournament, where the winning golfer would be granted a brief regal handshake and an audience with the great man and would respectfully refer to him as "Mr Palmer" in the subsequent TV interview. Once again I should make clear that this isn't meant as a criticism of Palmer personally; his great rival Jack Nicklaus fulfils a similar role at the Memorial Tournament, for instance.
To a large extent this is an American cultural thing unconnected with sports; for instance I noticed it on the Today programme yesterday when Sarah Montague was interviewing Mike Williams, one of the last people to get off the Deepwater Horizon oil-rig alive when it caught fire after a blowout in 2010. Williams was on the programme to talk about the new film (called, imaginatively, Deepwater Horizon) which dramatises the real-life events and in which Williams is portrayed by Mark Wahlberg. Many of Williams' answers were prefixed with "yes, ma'am" or "no, ma'am", a usage which seems quaintly archaic to British ears, unless you happen to be talking to the Queen, but which is still pretty common (with "sir" substituted for "ma'am" as appropriate) in America, with its use (I theorise) being heavily influenced by region, age and social class. My contention is that Southerners like Williams would tend to do it much more than, say, cynical and abrasive New Yorkers. Furthermore I can't imagine many male Brits who would expect their children's friends to address them as "sir", but I'm pretty sure there are parts of the USA where this usage would still be commonplace.
To a large extent this is an American cultural thing unconnected with sports; for instance I noticed it on the Today programme yesterday when Sarah Montague was interviewing Mike Williams, one of the last people to get off the Deepwater Horizon oil-rig alive when it caught fire after a blowout in 2010. Williams was on the programme to talk about the new film (called, imaginatively, Deepwater Horizon) which dramatises the real-life events and in which Williams is portrayed by Mark Wahlberg. Many of Williams' answers were prefixed with "yes, ma'am" or "no, ma'am", a usage which seems quaintly archaic to British ears, unless you happen to be talking to the Queen, but which is still pretty common (with "sir" substituted for "ma'am" as appropriate) in America, with its use (I theorise) being heavily influenced by region, age and social class. My contention is that Southerners like Williams would tend to do it much more than, say, cynical and abrasive New Yorkers. Furthermore I can't imagine many male Brits who would expect their children's friends to address them as "sir", but I'm pretty sure there are parts of the USA where this usage would still be commonplace.
arnie: six under
Sad news for golf fans this week with the death of the legendary Arnold Palmer, the first proper multi-media golf superstar. You'll have no doubt been saturated with overly reverent obituaries in various media outlets, so what you'll be hungry for is a very mildly contrarian HOT TAKE on the whole Palmer phenomenon. And here it is.
So the standard folksy Palmer narrative goes something like this: stuffy tweedy old world of golf is ROCKED by swashbuckling devil-may-care young tearaway who rocks up to courses on his motorbike, drives the ball 600 yards while smoking a fag and wearing leather trousers and totally sticks it to The Man while simultaneously making golf into the multi-gazillion dollar industry that it is today. Now while I'm not denying Palmer's massive influence on golf in popular culture, and I should make it clear I have ABSOLUTELY NO AXE TO GRIND WHATSOEVER with Palmer as man, golfer or legend, I think that the story has acquired a sort of unquestionable mythic status over the years that there might be some value in examining.
Firstly, we all know that golf was basically played by sclerotic 76-year-olds with tweed plus-fours and luxuriant handlebar moustaches until Palmer wheelied in on his Raleigh Chopper with his baseball cap on backwards and showed those doddery old duffers what modern golf was really all about. The trouble with that is that Palmer was a relatively middle-aged 28 when he won his first major championship, the 1958 Masters. Compare that with the winners of the remaining 1958 majors and you find that US Open winner Tommy Bolt was a rickety 42, but Open winner Peter Thomson was 28 and so was USPGA winner Dow Finsterwald. The following year's US Open and Open champions, Billy Casper and Gary Player, were both younger than Palmer at 27 and 23 respectively.
But, but, but: it's not just about the age thing, it's about the swashbuckling aggressive style and the down-to-earth attitude and the casual cardigan-wearing, fag-smoking charisma. And there'd be no argument from me there, except to venture the thought that pre-Palmer there were some golfers who were more aggressive and hit the ball further than others, and furthermore came from relatively humble beginnings, Sam Snead being an obvious example. What made Palmer a superstar and Snead merely a very successful golfer was that Palmer's rise to fame coincided with an explosion in TV ownership and coverage of golf on TV, and the introduction of colour TV in particular. Furthermore Palmer had the good fortune and shrewdness to hook up with fledgling sports promoter Mark McCormack who wrung the best endorsement deals and TV rights out of what was available.
One of the things that makes sportspersons in general loved by millions is fallibility, the sense that it could all go wrong at any minute. People who exhibit that sort of human frailty are generally better-loved than the steely remorseless winning machines, who tend to be loved only in retrospect. So just as Palmer was better-loved than Nicklaus, so it was for Snead and Hogan from an earlier era, and Ballesteros and Faldo and Mickelson and Woods from a later one.
Following on from that thought, one of the interesting things about Palmer's career, particularly for those of us who are far too young to have seen him in his prime and only really remember him from various grey-haired valedictory appearances at major tournaments over the past 30 years or so, is how short his prime was in terms of winning major tournaments. He won his first in 1958 at the age of 28 and his last six years later in 1964 at the age of 34, a major-winning span shorter than that of, say, Andy North, and notably shorter than those of his contemporaries Nicklaus (24 years) and Player (19 years).
After his last win Palmer had 19 top-10 finishes in majors without ever winning another - I haven't done extensive research here but other multiple major winners who had a similarly long "tail" to their careers include Sam Snead (20 top 10s after his last major win at the 1954 Masters) and Tom Watson (19 top 10s after his last major win at the 1983 Open). A couple of other odd Palmer/Watson parallels: Watson was a comparatively youthful 33 when he won his last major (completing a major-winning span of 8 years), and, like Palmer, the only major missing from his CV was the USPGA, in which he lost a play-off to John Mahaffey in 1978. Palmer was second at the USPGA three times, in 1964, 1968 and 1970. Other golfers to famously be a single major short of a career Grand Slam include Lee Trevino and (currently) Rory McIlroy at the Masters and Sam Snead and Phil Mickelson at the US Open.
More importantly, Palmer's death means that there may now never be an appropriate time for Andy and me to pitch our Viz comic strip idea, a concept very similar to Captain Oats: The Polar Explorer Who's Always Exploring His Own Pole. Ours was called Arnold Palmer: The Golfer Who's Always Palming His Arnold and featured a golfer concocting various hilarious ruses to sneak off into the heavy rough or a bunker for a quick one off the wrist. History is vague as to whether this explains Palmer's legendary meltdown in the final stages of the 1966 US Open.
So the standard folksy Palmer narrative goes something like this: stuffy tweedy old world of golf is ROCKED by swashbuckling devil-may-care young tearaway who rocks up to courses on his motorbike, drives the ball 600 yards while smoking a fag and wearing leather trousers and totally sticks it to The Man while simultaneously making golf into the multi-gazillion dollar industry that it is today. Now while I'm not denying Palmer's massive influence on golf in popular culture, and I should make it clear I have ABSOLUTELY NO AXE TO GRIND WHATSOEVER with Palmer as man, golfer or legend, I think that the story has acquired a sort of unquestionable mythic status over the years that there might be some value in examining.
But, but, but: it's not just about the age thing, it's about the swashbuckling aggressive style and the down-to-earth attitude and the casual cardigan-wearing, fag-smoking charisma. And there'd be no argument from me there, except to venture the thought that pre-Palmer there were some golfers who were more aggressive and hit the ball further than others, and furthermore came from relatively humble beginnings, Sam Snead being an obvious example. What made Palmer a superstar and Snead merely a very successful golfer was that Palmer's rise to fame coincided with an explosion in TV ownership and coverage of golf on TV, and the introduction of colour TV in particular. Furthermore Palmer had the good fortune and shrewdness to hook up with fledgling sports promoter Mark McCormack who wrung the best endorsement deals and TV rights out of what was available.
One of the things that makes sportspersons in general loved by millions is fallibility, the sense that it could all go wrong at any minute. People who exhibit that sort of human frailty are generally better-loved than the steely remorseless winning machines, who tend to be loved only in retrospect. So just as Palmer was better-loved than Nicklaus, so it was for Snead and Hogan from an earlier era, and Ballesteros and Faldo and Mickelson and Woods from a later one.
Following on from that thought, one of the interesting things about Palmer's career, particularly for those of us who are far too young to have seen him in his prime and only really remember him from various grey-haired valedictory appearances at major tournaments over the past 30 years or so, is how short his prime was in terms of winning major tournaments. He won his first in 1958 at the age of 28 and his last six years later in 1964 at the age of 34, a major-winning span shorter than that of, say, Andy North, and notably shorter than those of his contemporaries Nicklaus (24 years) and Player (19 years).
After his last win Palmer had 19 top-10 finishes in majors without ever winning another - I haven't done extensive research here but other multiple major winners who had a similarly long "tail" to their careers include Sam Snead (20 top 10s after his last major win at the 1954 Masters) and Tom Watson (19 top 10s after his last major win at the 1983 Open). A couple of other odd Palmer/Watson parallels: Watson was a comparatively youthful 33 when he won his last major (completing a major-winning span of 8 years), and, like Palmer, the only major missing from his CV was the USPGA, in which he lost a play-off to John Mahaffey in 1978. Palmer was second at the USPGA three times, in 1964, 1968 and 1970. Other golfers to famously be a single major short of a career Grand Slam include Lee Trevino and (currently) Rory McIlroy at the Masters and Sam Snead and Phil Mickelson at the US Open.
More importantly, Palmer's death means that there may now never be an appropriate time for Andy and me to pitch our Viz comic strip idea, a concept very similar to Captain Oats: The Polar Explorer Who's Always Exploring His Own Pole. Ours was called Arnold Palmer: The Golfer Who's Always Palming His Arnold and featured a golfer concocting various hilarious ruses to sneak off into the heavy rough or a bunker for a quick one off the wrist. History is vague as to whether this explains Palmer's legendary meltdown in the final stages of the 1966 US Open.
Sunday, September 18, 2016
the last book I read
In Germany before the war, there was a man who had a son. The son, Helmut, is born with a weakened right side which means he will be unlikely to be suitable for manual labour. Instead, the boy develops an interest in photography, with some help from a local man, Herr Gladigau, who owns a darkroom where Helmut can hone his skills.
Once war breaks out, Helmut, ineligible for army service, documents events in his native Berlin with his camera, with some help from Herr Gladigau, who recognises the young man's talent. Soon, though, Helmut realises he's documenting stuff that he's not totally comfortable about, like the brutal herding of Jews and gypsies into trucks to be transported away who knows where. Eventually it becomes clear that the war has taken a turn for the worse (from a German perspective anyway) and Berlin comes under serious Allied bombardment. Separated from his parents, Helmut takes refuge in the old darkroom and continues to document events while Berlin is bombarded and the Allies close in.
Cut to: 1945, and somewhere in Bavaria 12-year-old Lore is taking refuge in a farm with the rest of her family. It turns out Mutti and Vati are keen to keep a low profile as they were prominent local Nazis and don't want this to be widely known by the approaching Allies. Sure enough Mutti and Vati are captured and carted off to the interrogation and repentance facility, and Lore and her younger siblings are obliged to set out and trek across Germany to Hamburg to find their grandmother. It hardly needs to be said that this is a journey fraught with all manner of dangers; not only are the Allies keen to keep tabs on people and not have herds of unaccounted-for children roaming about the place, but the rule of law has broken down, everyone is starving, and what you might think of as normal societal norms don't really apply.
Not only that, but occupied Germany has been arbitrarily divided up into zones, each occupied by a different army, and while the British might send you on your way with no more than a cheery clip round the ear, stray into the Russian zone unawares and you could get shot. Sure enough, Lore's younger brother Jochen meets exactly this fate - that all the siblings don't meet a similar fate is largely down to their good fortune in meeting Thomas, a young German man also keen to get across Germany unmolested, for reasons of his own.
Lore, her siblings and Thomas strike up an uneasy alliance, and eventually they reach Hamburg and are reunited with grandma. Thomas prefers to keep a low profile, as he has his own reasons for avoiding scrutiny. Lore has to come to terms with the fact that the man who helped them and became their friend was not who he claimed to be.
Cut, slightly more jarringly, to: 1997, and Micha is a schoolteacher in Berlin who has recently become interested in his late grandfather's war activities. Grandfather, it turns out, was in the Waffen-SS and was imprisoned for 10 years or so after the war in a Russian prison camp. Micha becomes obsessed with finding out what his grandfather did during the war, particularly during his posting to modern-day Belarus. But does he really want to know? Certainly there were massacres of Jews in Belarus, just as there were in many other places. But could Micha's fondly-remembered grandfather have been involved? Does the fact that he was an affectionate grandfather (despite some dark rumblings of a drink problem) mean that he couldn't have been involved? Can you tell if someone has committed atrocities just by looking at them?
Armed with a grainy old photo of his grandfather, Micha travels to Belarus to see if anyone remembers the war, and his grandfather's part in it in particular. But how can he broach the subject with the locals, many of whom presumably had relatives who were killed by German forces? Hello, you don't know me, but I think my grandpa might have massacred your entire family; would you care to share any amusing anecdotes you can recall about him? And of course some of the Belarussians have their own murky pasts to conceal.
As with some other books in this series, The Dark Room raises the question: what is a novel? This one could arguably be more accurately described as three linked novellas, since there isn't the usual novelistic thing of some thread linking the stories together - Micha being Lore's grandson, or something like that, for instance. The three stories share the common backdrop of World War II, but that's about it.
Considered separately the three stories describe an upward curve, quality and compellingness-wise: I wasn't sure I saw the point of Helmut's story, and it's by far the shortest of the three, Lore's story is compelling just by virtue of the young-kids-in-jeopardy theme, but it's Micha's story that really resonates: there's a huge number of people in Germany, good, kind, considerate people in the main, who have direct blood ancestors who participated in genocidal killings on a massive scale only a couple of generations ago. How do you, as one of those people, deal with that? And how do you, as a novelist, explore the implications in a way that isn't trite and clichéd, given the amount of World War II-themed literature out there?
The inevitable lumpiness caused by the format aside, this is very good, managing to find a fairly fresh angle on some over-familiar events without being so oblique as to be incomprehensible. The bit right at the end where Micha and his girlfriend Mina have a baby daughter has faint echoes of the similar events at the end of Birdsong, but without the sense of the new life/new beginnings symbolism being trowelled on quite as thickly.
The Dark Room was nominated for the Booker Prize in 2001; I have now read four of that years' nominees (though not, as it happens, the winner) which, if the information here is still accurate, is some sort of personal record. [Actually, having had a look, I've read four of of the six for 1984 as well, including that year's winner, Hotel Du Lac.]
Thursday, September 15, 2016
lifeless eyes, black eyes, like a dahl's eyes
So it was Roald Dahl Day on Tuesday, which is apparently a thing that's been going on every September 13th (his birthday) for about ten years; this one is a bit more noteworthy though as it would have been Dahl's 100th birthday, had he not inconsiderately upped and died at the age of 74 in 1990.
In celebration of this Nia's school had a Roald Dahl Day of their own, where the kids were invited to dress up as characters from the books. Nia is still a bit young to know about the books, but we (well, principally Hazel) had a go at making her a Roly-Poly Bird costume which I think turned out pretty well. Nia's school posted a few pictures on Twitter, but as far as I can see none of them included her, so here she is:
But of course the trouble is that it's perfectly plausible, indeed likely, that a different personality would have produced different works of art, or indeed quite possibly no works of art at all. Were Chuck Berry's tight little nuggets of barely-suppressed lust (Sweet Little Sixteen and the like) the by-product of his priapic personal habits? More than likely. Is Roald Dahl's fictional universe where 99% of adults are horrible, particularly the fat ones (Dahl seems to have reserved a particular hatred for fat people), and youth and goodness ultimately prevail, reflective of his own childhood experiences and the adult those experiences made him into? Quite probably. Happy people have no stories, as the song says.
So I think it's entirely appropriate to celebrate Roald Dahl's work, loved as it is by millions, but also to acknowledge his personal foibles. This is a doubly difficult balance to strike with someone whose primary audience was children; my judgment in this case was that even an exceptionally bright four-year-old like Nia would probably not understand what I was getting at if I'd tried to explain. In any case you don't want her spoiling everyone else's day by turning up with a placard saying ROALD DAHL WAS A FUCKER, still less coming out with some mangled version of the story like MY DADDY SAYS HE HATES ALL THE JEWS or something.
In celebration of this Nia's school had a Roald Dahl Day of their own, where the kids were invited to dress up as characters from the books. Nia is still a bit young to know about the books, but we (well, principally Hazel) had a go at making her a Roly-Poly Bird costume which I think turned out pretty well. Nia's school posted a few pictures on Twitter, but as far as I can see none of them included her, so here she is:
The Roly-Poly Bird featured in The Enormous Crocodile and The Twits. I'm pretty sure I read The Twits once, but it wasn't part of my formative Dahl-reading experiences, which included Charlie And The Chocolate Factory, James And The Giant Peach and Danny The Champion Of The World. I can't quite remember when I first read one of his books, but I'd have been somewhere between 8 and 11, which is probably fairly typical.
I'd say Danny The Champion Of The World is probably my favourite, as it seems the most generally well-disposed towards humanity and has a satisfying father-son relationship at its heart. Charlie And The Chocolate Factory is his best-known book, and I loved it, but it was hard to find a character to identify with. Willy Wonka is too wild and unpredictable to be totally comfortable with, and it's hard to get behind his decision to basically withdraw completely from human interaction. I mean, I like chocolate more than most people, but come on. Obviously Charlie Bucket is the character you're meant to root for, and I did, but he essentially buys into Wonka's life-denying attitude by agreeing to take over the factory at the end. The sequel Charlie And The Great Glass Elevator was just a bit silly, notwithstanding the Vermicious Knids, which were pretty cool.
I own the two adult short story collections Kiss Kiss and Someone Like You as well, plus the bizarre novel My Uncle Oswald which basically revolves around stealing sperm samples from various early-20th-century male celebrities by slipping them a potent aphrodisiac (or, to put it more judgmentally, raping them).
The other thing about Dahl, and the problem a lot of people have with the uncritical celebration of his much-loved works, is that he seems to have been somewhat of a massive shit in real life. This manifested itself mainly in some general racism and in particular some virulent anti-Semitism. There isn't much you can say to excuse this sort of thing:
There is a trait in the Jewish character that does provoke animosity, maybe it’s a kind of lack of generosity towards non-Jews. I mean there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason.
I mean, if you and I were in a line moving towards what we knew were gas chambers, I’d rather have a go at taking one of the guards with me; but they were always submissive.So we're back in the territory of worrying about whether the stature of works of art should be diminished by their authors' unpleasant personality traits. Is the genius of Johnny B Goode diminished by Chuck Berry's being a scrofulous old pervert? Is Ender's Game less of a science-fiction classic because Orson Scott Card is a homophobic nutter? Is Two Little Boys made even more loathsome by its association with convicted sex offender Rolf Harris? Is Mein Kampf less of a work of genius because Adolf Hitler.....well, you get the idea.
But of course the trouble is that it's perfectly plausible, indeed likely, that a different personality would have produced different works of art, or indeed quite possibly no works of art at all. Were Chuck Berry's tight little nuggets of barely-suppressed lust (Sweet Little Sixteen and the like) the by-product of his priapic personal habits? More than likely. Is Roald Dahl's fictional universe where 99% of adults are horrible, particularly the fat ones (Dahl seems to have reserved a particular hatred for fat people), and youth and goodness ultimately prevail, reflective of his own childhood experiences and the adult those experiences made him into? Quite probably. Happy people have no stories, as the song says.
So I think it's entirely appropriate to celebrate Roald Dahl's work, loved as it is by millions, but also to acknowledge his personal foibles. This is a doubly difficult balance to strike with someone whose primary audience was children; my judgment in this case was that even an exceptionally bright four-year-old like Nia would probably not understand what I was getting at if I'd tried to explain. In any case you don't want her spoiling everyone else's day by turning up with a placard saying ROALD DAHL WAS A FUCKER, still less coming out with some mangled version of the story like MY DADDY SAYS HE HATES ALL THE JEWS or something.
Tuesday, September 06, 2016
the tweet smell of success
A quick blog-related public service announcement: those of you who are paying attention may have noticed the addition of a groovy real-time(ish) Twitter feed in the sidebar, just in case you hadn't had enough of my tedious fucking opinions about stuff and disappointingly puerile sense of humour after dipping into the blog. As with all things blog-related and indeed Twitter-related I did it solely for my own amusement; it's actually pretty easy and reasonably idiot-proof instructions can be found here and here.
why can't he see, he's lumley to me
Here's another one for the file marked: is it a coincidence? Or is it perhaps....Something More? No, it's just a coincidence.
When I dashed off my jokey tag-line at the start of the Milan Kundera book review a few months back, I was dimly aware that I was paraphrasing (in addition to Flash Gordon) something I'd actually read on the back of a book way back in the dim and distant past.
I thought no more of it until a rambling and wide-ranging conversation with a couple of work colleagues the other day brought forth (can't remember why) the name Brian Lumley, author of various lurid supernatural fantasy novels, mainly in the late 1980s and early 1990s. The series of novels he's most famous for is the Necroscope series, and it occurred to me during the conversation that it was on the back of one of these that I'd seen the blurb that I nicked the parodic version above from (though frankly, as you'll see below, I've toned it down somewhat if anything).
The book in question is the second in the series, titled Necroscope II: Wamphyri! That's not my exclamation mark, it's part of the title. Sadly I can't find a back cover image to go with the front cover one reproduced here, but both that Amazon page and Lumley's own website reproduce the blurb originally printed thereon:
I should also make clear that to the best of my knowledge Brian Lumley is not in any way related to Joanna Lumley, and is therefore unlikely to be able to, so to speak, shed any light on her anus.
When I dashed off my jokey tag-line at the start of the Milan Kundera book review a few months back, I was dimly aware that I was paraphrasing (in addition to Flash Gordon) something I'd actually read on the back of a book way back in the dim and distant past.
there's this guy, Bernard, and he only has fourteen hours to save the Earth! There's only one problem: HE HASN'T GOT A HEAD.
The book in question is the second in the series, titled Necroscope II: Wamphyri! That's not my exclamation mark, it's part of the title. Sadly I can't find a back cover image to go with the front cover one reproduced here, but both that Amazon page and Lumley's own website reproduce the blurb originally printed thereon:
THINGS IN THE GROUND THINKING THEIR THOUGHTS…Tremendous. I should add that I've never read any of these books, as they always seemed a bit on the pulpy and ludicrous side, and furthermore shading over into the realms of fantasy, something I've always steered clear of. Of course there is at best a fuzzy and ill-defined line between what you might call supernatural horror and fantasy, both of which are predicated on the existence of some sort of supernatural realm in a way that, for instance, science fiction isn't. I was never a big consumer of horror fiction outside of Stephen King (very little of whose output, I would contend, really falls into that category) and the occasional James Herbert anyway.
…Thoughts they can express only through Harry Keogh, Necroscope. For that's Harry's talent, and his burden: he reads thoughts of the dead in their graves – and the thoughts of the UNdead!. Except…the undead are thinking things that are totally – unthinkable!
WAMPHYRI!
Yulian Bodescu's mother fainted at the tomb of Thibor Ferenczy, vampire. Corrupt from birth, now Yulian feels a strange compulsion: to discover his real father and spread his works abroad. Only Harry Keogh, prisoner of the metaphysical Möbius Continuum, can stop him. Harry's other big problem is this:
HE DOESN'T HAVE A BODY!
I should also make clear that to the best of my knowledge Brian Lumley is not in any way related to Joanna Lumley, and is therefore unlikely to be able to, so to speak, shed any light on her anus.
Friday, September 02, 2016
the last book I read
Gordon Reeve is a man. A man with a past. A past including Things. Things you don't want to know about. As the back cover blurb says, he is "a professional killer with an anger management problem". So when his brother Jim, an investigative journalist, turns up dead in San Diego and Gordon takes the call as nearest next-of-kin, his ex-SAS instincts are aroused as soon as he turns up out there and finds the local police insisting on a verdict of suicide while being slightly evasive about certain details.
It turns out Jim had been into a story, something to do with the BSE crisis in cattle in (in Britain anyway) the early 1990s, and the received wisdom that it was the rendered remains of sheep, not to mention their own relatives, that calves were being fed that was to blame for the epidemic. Jim was investigating an alternative theory, something to do with organophosphate fertilisers, that led him in quick succession to Co-World Chemicals (manfuacturers of said fertilisers, among other things) and an untimely death.
Gordon retraces some of Jim's investigative steps and soon finds himself coming to the attention of some dubious characters, firstly on his home turf in Scotland and later when he visits Jim's journalist friend Marie Villambard in rural France. Gordon sees the first lot off easily enough, but the second encounter results in a bloodbath, Marie's death, Gordon's being pursued by Interpol and his suspicion that an old acquaintance from his murky past may be about to make a reappearance in his life.
Gordon returns to America and, via some murky SAS-fu involving some more violence and some judicious illegal drug use, manages to extract some information about Co-World Chemicals and their illegal drug research. Having satisfied himself of the reasons for Jim's death, he turns his attention to his old army colleague Jay, his former partner on a doomed mission behind Argentinian lines during the Falklands War. Jay doesn't really care about the ins and outs of CWC's corporate crimes, he just wants to gut Gordon like a fish and piss in his dead eye sockets.
So Gordon decides to make his last stand on his home turf, one of the small islands off the coast of South Uist. Having ambushed Jay and his hired goons there and reduced their numbers, he leads them back to the hills of South Uist where he offs them one by one before a final showdown with Jay.
As you can see from the cover picture above, this was one of a series of books that Ian Rankin published under the pseudonym Jack Harvey; there were three of them published between 1993 and 1995. The purpose of the pseudonym was presumably to differentiate these books from those published under Rankin's own name, which apart from a couple of very early ones are all set in the Rebus universe. There's plenty of precedent for doing this, from Stephen King/Richard Bachman to Ruth Rendell/Barbara Vine; reasons range from just needing another outlet for unreasonable prolificness to wanting to experiment with other styles and/or genres. As Rankin himself says in this interview:
The Harveys were big, fat airport-type thrillers: you'd buy one for a flight and you'd chuck it away at the other end. But they kind of let me go off the leash a little bit and let me do things that I couldn't do in the Rebus books.Rankin's own website, and the modern printings of the Jack Harvey books, have reverted to crediting them to Rankin alone now, which is the convention I've adhered to above. I've only ever read a couple of Rebus novels: certainly Black And Blue, and possibly one or two others. They're pretty good, and Rebus is an engaging character despite occupying a similar niche to Kurt Wallander, Aurelio Zen, Ze Coelho and Harry Hole and various other maverick cops who don't play by the rules but (dammit) get results. Blood Hunt is more in the orthodox thriller genre than any of those, and suffers a bit from an adherence to standard thriller cliché, not least in the Didn't You Kill My Brother thing that kicks off the plot, just as in, say, Get Carter. The basic plot MacGuffin involving the BSE/organophosphate thing sort of dwindles off into irrelevance after the halfway point as well, aside from the wholly implausible episode where Gordon doses up a couple of key people with burundanga and extracts video confessions. The climactic section is really just Gordon and Jay trying to kill each other with no reference to any of the main plot, just their shared Falklands experience a dozen or so years previously.
So it's all good fun, and very entertaining, but fairly cliché-ridden, and no amount of arch quirky touches like having Gordon Reeve's cat be called Bakunin or Marie Villambard's dog be called Foucault is going to change that. If you want Rankins then I'd suggest sticking to the main Rebus stuff; if you want an intelligent and brutally gripping non-supernatural thriller then I still can't think of anything I'd recommend more highly than Tim Willocks' Green River Rising.
Wednesday, August 17, 2016
what are the chances?
I spotted another outing for the old tabloid favourite of a child being born on the same day as its parents last week - this time it was the Ballingalls of Evesham (who all celebrate a birthday on August 1st) who prompted a frenzy of uncritical parroting of nonsense from various drunken hacks, principally the claim that the odds against such an occurrence are 1 in 48 million.
Just to reiterate the point I made at greater length last time, the odds against any random 3-person group (let's say mother, father, baby for the sake of argument, as that seems to have more of a pull for the newspapers, rather than, say, three randomly-chosen people down the pub, although the maths is exactly the same) sharing a birthday are 1 in 133,225. The odds of a random 3-person group all having a birthday on a date you specify in advance are indeed in the neighbourhood of 1 in 48 million, but that's not a situation that arises in any of these tabloid stories. It's easier to see the difference if you just consider one person and reflect on the difference in the answers to the questions "what are the chances of a person being born on May 15th?" and "what are the chances of a person being born on their own birthday?". The odds, given a pair of parents who share a birthday, of their child having the same birthday are - at worst - 1 in 365.
You would expect, if the odds really were 1 in 48 million, for this to be a pretty rare event. You can work out how rare by finding out how many babies are born per day in the UK, and the answer appears to be roughly 2,000 (as compared with just over 350,000 worldwide). So you'd expect one of these events roughly every 24,000 days in the UK; that's about once every 65 years. A very quick Google for similar stories just from the UK reveals the following - there are some variants in terms of which three family members share the birthday, but it doesn't affect the probabilities, and the trigger for the story is always the arrival of a new baby:
- this story from October 2010 about three siblings sharing a birthday - amusingly, the mathematics professor they wheeled in to give an opinion about probabilities gives the right answer, which the headline writer clearly ignored;
- this one from January 2016 about a baby sharing a birthday with dad and grandmother;
- another baby/dad/grandma combo from February 2015.
So, if you include the recent one (but exclude the one in my old post, as that was actually in the USA) that's four in a little under six years, which ought to suggest to the 1 in 48 million folks that they might have made an error somewhere. 1 in 133,225 would suggest an occurrence roughly every 65 days, i.e. once every couple of months.
Tuesday, August 16, 2016
the last book I read
It's the summer of 1914, and Aylmer Weston is a cabinet minister in the Asquith government. It was pretty much a requirement for being a senior MP in those days that you were independently wealthy and didn't have to do anything as mundane and time-consuming as a day job, so Aylmer spends his leisure time hanging out at Charleswood, his country retreat, where his wife Cynthia organises fabulous gatherings and there is much carefree flapping and jolly japery.
Aylmer and Cynthia have three children, Edmund, Violet and Kitty. Edmund is the stolid reliable type, Violet is about to embark on a suitable marriage to a stupendously dull young man, and young Kitty is a bit skittish, so a governess, Alice, is employed to keep her mind on her studies and off unsuitable subjects like ravenously gobbling off unsuitable men. You know what girls are like.
And then there is Philip, Aylmer's nephew, adopted into the family on the death of his parents in India. A more brittle, quixotic character than the others, presumably lacking their easy certainty and sense of entitlement, he soon gets embroiled in an ill-advised business relationship with a man called Horgan, who has some shares to sell in a mining company that is a dead cert for massive profits. So much so, in fact, that Philip would be a fool not to get his family in on the deal; in fact he'd be practically robbing them not to.
So Philip extracts ten grand or so from Aylmer and Edmund (a very serious wedge in those days) and, unsurprisingly, it soon becomes apparent that Horgan's company isn't quite the dead cert he thought it was. As wealthy as the Westons are, losing ten grand or so is going to hurt, but Aylmer is heavily preoccupied with the Irish question and in any case has the upper-class Englishman's desire to avoid confrontation.
So with Violet off doing wedding preparations and Aylmer constantly up in London, Philip finds himself knocking around at Charleswood with little to do and often only Cynthia for company. Eventually the endless rounds of sherry and backgammon start to pall and Philip and Cynthia get down to some serious fucking, discreetly at first but eventually less so, and in the aftermath of one particularly furious encounter the housemaid, Beatrice, finds them in a state of post-coital slumber in Cynthia's bed. Proving that the lower orders really aren't to be trusted, she inevitably blabs to Aylmer in the act of handing in her notice.
Aylmer's uptight stiff-upper-lip upbringing hasn't really equipped him for having to confront his wife with the knowledge that she's been having an incestuous affair with her own nephew/stepson, and after a tense showdown with Cynthia he pops off and drowns himself in the river. Philip feels disinclined to hang about after this, and heads off to London where he immerses himself in Horgan's business and eventually becomes a rich man, partly off the back of some dealings during the First World War which breaks out shortly afterwards, and whose unimaginable carnage puts all the country house shenanigans into perspective.
The obvious thing to say about Statues In A Garden is that it ploughs a similar furrow to the other Isabel Colegate on this list, The Shooting Party. The other obvious thing to say in relation to that comparison is that the later book (Statues In A Garden was published in 1964, The Shooting Party in 1980) is much better, for a number of reasons, not least because the later book introduces some interesting tension between the above- and below-stairs characters. The lower orders don't feature much at all here, apart from Beatrice's moment of glory and some slightly Driving Miss Daisy-esque interaction between Aylmer's mother and her driver, Moberley. It's almost as if Isabel Colegate thought: I really fancy having another crack at that upper-class types on the eve of war thing, only with a richer and more compelling story.
That said, there's nothing wrong with this, beyond its slightness in terms of story. Obviously a bit of the old incest is a compelling plot point, just as it was in previous books in this series here, here, here, here, here and here. Stories featuring the lead-up to World War I are a sort of popular sub-genre of the That Last Golden Summer Before Everything Went To Shit genre, a non-war-related example of which can be found here. A revelation of some sexual shenanigans culminating in a key male character faceplanting fatally into some water was also a climactic plot point in A Fairly Honourable Defeat.
Monday, August 01, 2016
highway 61 not revisited
Another major, another round of 63 to add to the list. This time it was Robert Streb at the USPGA at Baltusrol; this one was via the long-birdie-putt-on-last-hole variety, like Stenson's at the Open.
Jimmy Walker won, so Streb's round makes the current score 23-7 in favour of a 63 not leading to a victory.
Speaking of Henrik Stenson, one of the things sports journalists had to be careful about after his Open win was hailing him as the first Swedish man to win a major championship, there being a long and glorious history of Swedish women winning majors, most notably Annika Sörenstam who won ten of them.
Similarly, I should be clear that the list of 63s above represents the lowest rounds ever shot in a men's major golf championship. The women's list (well, lists, actually) is rather different. Let's start from the beginning: as far as I can tell the round of 63 shot by Patty Sheehan at the 1984 LPGA was the first in a women's major. This set a record that was equalled twice, as follows:
Rather than grow to gargantuan proportions like the men's list, though, the women's list was brutally truncated to a single entry by Minea Blomqvist's 62 at the Women's British Open in 2004. This set a new record that was equalled once:
But, again, all this was wiped from the record books in 2014, when 19-year-old Korean Hyo-Joo Kim shot 61 on her way to winning the Evian Championship.
if I were current #OpenChampionship leader Robert Streb I'd abbreviate Robert to Bert. Then my name would be a palindrome: Bert Streb. #golf— Dave Thomas (@electrichalibut) July 16, 2015
Jimmy Walker won, so Streb's round makes the current score 23-7 in favour of a 63 not leading to a victory.
| Player | Tournament | Year | Round | Result | Winner |
|---|---|---|---|---|---|
| Johnny Miller | US Open | 1973 | final | WON | Johnny Miller |
| Bruce Crampton | USPGA | 1975 | second | 2nd | Jack Nicklaus |
| Mark Hayes | Open | 1977 | second | tied 9th | Tom Watson |
| Jack Nicklaus | US Open | 1980 | first | WON | Jack Nicklaus |
| Tom Weiskopf | US Open | 1980 | first | 37th | Jack Nicklaus |
| Isao Aoki | Open | 1980 | third | tied 12th | Tom Watson |
| Raymond Floyd | USPGA | 1982 | first | WON | Raymond Floyd |
| Gary Player | USPGA | 1984 | second | tied 2nd | Lee Trevino |
| Nick Price | Masters | 1986 | third | 5th | Jack Nicklaus |
| Greg Norman | Open | 1986 | second | WON | Greg Norman |
| Paul Broadhurst | Open | 1990 | third | tied 12th | Nick Faldo |
| Jodie Mudd | Open | 1991 | final | tied 5th | Ian Baker-Finch |
| Nick Faldo | Open | 1993 | second | 2nd | Greg Norman |
| Payne Stewart | Open | 1993 | final | 12th | Greg Norman |
| Vijay Singh | USPGA | 1993 | second | 4th | Paul Azinger |
| Michael Bradley | USPGA | 1995 | first | tied 54th | Steve Elkington |
| Brad Faxon | USPGA | 1995 | final | 5th | Steve Elkington |
| Greg Norman | Masters | 1996 | first | 2nd | Nick Faldo |
| Jose Maria Olazabal | USPGA | 2000 | third | tied 4th | Tiger Woods |
| Mark O’Meara | USPGA | 2001 | second | tied 22nd | David Toms |
| Vijay Singh | US Open | 2003 | second | tied 20th | Jim Furyk |
| Thomas Bjorn | USPGA | 2005 | third | tied 2nd | Phil Mickelson |
| Tiger Woods | USPGA | 2007 | second | WON | Tiger Woods |
| Rory McIlroy | Open | 2010 | first | tied 3rd | Louis Oosthuizen |
| Steve Stricker | USPGA | 2011 | first | tied 12th | Keegan Bradley |
| Jason Dufner | USPGA | 2013 | second | WON | Jason Dufner |
| Hiroshi Iwata | USPGA | 2015 | second | tied 21st | Jason Day |
| Phil Mickelson | Open | 2016 | first | 2nd | Henrik Stenson |
| Henrik Stenson | Open | 2016 | final | WON | Henrik Stenson |
| Robert Streb | USPGA | 2016 | second | tied 7th | Jimmy Walker |
Speaking of Henrik Stenson, one of the things sports journalists had to be careful about after his Open win was hailing him as the first Swedish man to win a major championship, there being a long and glorious history of Swedish women winning majors, most notably Annika Sörenstam who won ten of them.
Similarly, I should be clear that the list of 63s above represents the lowest rounds ever shot in a men's major golf championship. The women's list (well, lists, actually) is rather different. Let's start from the beginning: as far as I can tell the round of 63 shot by Patty Sheehan at the 1984 LPGA was the first in a women's major. This set a record that was equalled twice, as follows:
| Player | Tournament | Year | Round | Result | Winner |
|---|---|---|---|---|---|
| Patty Sheehan | LPGA | 1984 | third | WON | Patty Sheehan |
| Helen Alfredsson | Women's US Open | 1994 | first | tied 9th | Patty Sheehan |
| Meg Mallon | LPGA | 1999 | first | tied 11th | Juli Inkster |
Rather than grow to gargantuan proportions like the men's list, though, the women's list was brutally truncated to a single entry by Minea Blomqvist's 62 at the Women's British Open in 2004. This set a new record that was equalled once:
| Player | Tournament | Year | Round | Result | Winner |
|---|---|---|---|---|---|
| Minea Blomqvist | Women's British Open | 2004 | third | tied 8th | Karen Stupples |
| Lorena Ochoa | Kraft Nabisco Championship | 2006 | first | 2nd | Karrie Webb |
But, again, all this was wiped from the record books in 2014, when 19-year-old Korean Hyo-Joo Kim shot 61 on her way to winning the Evian Championship.
| Player | Tournament | Year | Round | Result | Winner |
|---|---|---|---|---|---|
| Hyo-Joo Kim | Evian Championship | 2014 | first | WON | Hyo-Joo Kim |
That round remains the sole occupant of the women's list. This is what will inevitably eventually happen to the men's list once one of those lip-out putts finally drops and someone shoots a 62, or just hoofs the door down completely and shoots 59 or something.
Wednesday, July 27, 2016
the last book I read
Meet Captain Jack Aubrey. A burly, bluff sort of cove, not perhaps the sort of man you'd sit down with for a nuanced discussion about politics or the binomial theorem, but a natural leader of men and an experienced naval commander. His skills are less well suited to land-based matters, and as the result of some unwise financial investments he finds himself in a state of mild disgrace as the novel opens, and jumps at the chance to take command of HMS Worcester for a mission to bolster the British blockade of Toulon. This is a tedious mission involving a lot of waiting around, and on a ship that is well-known to be badly-built, but Jack decides that it's still better than being beset by lawyers and creditors on land.
Meet Stephen Maturin. A doctor, Irish-Catalan by birth, and Jack Aubrey's closest friend and advisor and regular ship's doctor. Maturin is a shrewd and secretive character, as befits someone who does a bit of clandestine naval intelligence work on the side, so he and Aubrey are like chalk and cheese, but, hey, opposites attract. Maturin signs on to fulfil his usual ship's doctor role on the Worcester, the two say goodbye to their wives and off they go.
As expected the job they've been asked to do is exceptionally dull, basically involving sitting in one place in a line of ships and making sure no French vessels try to make a run for it. A bit of excitement is provided by a brief mission to a supposedly neutral port in Tunisia to try and provoke the French ships stationed there into firing first and starting a fight, but they basically just shrug Gallicly and refuse to be tempted, leaving Jack frustrated.
His mood is not improved by having to do some sneaky night-time duties to facilitate some of Stephen's spying activities, dropping him off via dinghy on a deserted bit of marshland (somewhere in the vicinity of the Camargue, we're invited to assume) and picking him up later after a botched mission, with his British contact in tow with an accidental self-inflicted gunshot wound. Back at the blockade, things seem to be looking up when some of the French ships make a dash for it, and the British set off in hot pursuit, but the wind changes at a crucial moment and the French are able to return to port without any serious damage.
Having bent Worcester all out of shape in the furious pursuit, Jack takes her to Malta for repairs and is assigned his old frigate HMS Surprise for a delicate mission to the Ionian Sea (the triangular bit between western Greece and the bootheel of Italy, basically) - the idea being to play off some of the local beys against each other to Britain's advantage and retake some of the key islands (including Corfu) from the French. Having chosen the best strategic ally, Jack then finds himself becalmed in harbour (in what would be modern-day Albania) before escaping and launching a furious pursuit of one of the rival beys who wants to scupper Britain's interests. Meeting him at sea (and with Surprise outnumbered by two ships to one) a furious naval battle ensues with much indiscriminate dispatching of grapeshot and cannonballs flying around taking people's limbs off. Jack gets to work off some of his frustration at being denied a proper battle earlier by doing some proper boarding and cutlass-wielding activity, a surrender is obtained and Jack and his crew live to dress their wounds, claim some booty and head off for further adventures. Hurrah!
One of the things about picking books up randomly second-hand is that you often get hold of one that turns out to be part of a series, and the law of averages dictates that it'll seldom be the first book. So you then have to decide whether this is a self-contained story that just features some recurring characters (The Redeemer is a good example of this), whether you really need to read the series in order for it to make any sense (the Girl With The Dragon Tattoo series, for instance), or something in between: linked stories, recurring characters, probably better to read the whole thing in the right order but you can read individual ones and they'll still make sense (the Ripley novels, say).
The Ionian Mission probably falls into the last category (what posh literary types call a roman-fleuve): it's the eighth book in what's generally known as the Aubrey-Maturin series, which comprises twenty books (there won't be any more as O'Brian died in 2000). So while it's probably better to have read them in order in order to pick up on some of the references to previous adventures and to better understand how some of the minor characters fit into the overall context, it's certainly not essential.
The novels were published over the course of thirty years (1969-1999; The Ionian Mission was published in 1981) and describe events over a period of roughly fifteen years between 1800 and 1815. Their critical reputation has taken a gradual upward curve over the years, from being regarded as a sort of modern-day Hornblower saga to being the work of (as the blurb on the front of my copy says) "the greatest historical novelist of all time". I dunno about that, but I enjoyed it very much - the evocation of life on board ship is exceptionally vivid, even though O'Brian makes no concession to those who aren't familiar with sailing and naval terminology. The structure of the novel would be slightly odd if it were not understood that this is part of a long series - the "Ionian mission" of the title only materialises around page 250 of a 350-page book, and the battle with the Turks at the end occupies only the last 15 pages of the book. Stephen Maturin's brief spying mission is ill-explained and seemingly inconsequential as well, though I'm sure it fits in as part of a longer narrative.
More generally, certain conclusions about the series and characters can be drawn from this single instalment, most obviously that Maturin is a sort of authorial alter ego, with Aubrey perhaps representing some personality traits that O'Brian wistfully aspired to. Maturin also acts as a sort of Basil Exposition for various bits of arcane naval stuff, generally via the vehicle of having some lubberly hanger-on saying "I say, Dr. Maturin, what does the captain mean by "luffing"?".
So while I'm not sure that naval adventure fiction, however subtly and intelligently written, is ever really going to be My Thing, and I'm not going to be rushing out to stock up with the other 19 books in the series, I wouldn't rule out reading another one or two in the future.
Many people will know the novels through the film adaptation Master And Commander: The Far Side Of The World, which came out in 2003. The horribly-botched title reflects the idea that this was intended to be the first of a series of films, a series that in the end never materialised (although the first film was a modest commercial success), though there are still those who'd like to revive the idea. But it did at least perform the almost-impossible task of getting both the Hitchens brothers to agree about something - basically that the film was fine, but the books are better.
Tuesday, July 26, 2016
if you notice this notice you will notice that this notice is not worth noticing
When we moved into our house in June 2010 one of the things my late predecessor warned us about was not to leave any vehicles parked on the pavement out at the front of the house, in contravention of the double-yellow markings. Not such a problem for us as we've got a driveway which can accommodate up to three cars, but it's occasionally tempting for visitors who don't want to go and park up round the corner for some reason - heavy stuff to load and/or unload, general laziness, that sort of thing. Leave your car there for a NANOSECOND, we were warned, and the long arm of the law will display its great vengeance and furious anger; and you will know their name is Gwent Police when they lay their vengeance upon thee.
Turns out that while this may have been true in the heady days of the mid-to-late-noughties, it isn't true any more. I don't want to get all EVIL TORIES WITH THEIR CUTS AND AUSTERITY AND THAT on your ass, but it is nonetheless true that most forces have seen numbers cut and, as much as I'd like police priorities to be primarily focused on my personal comfort and convenience and more generally being the shepherd protecting my righteous ass in the valley of darkness, that shit ain't the truth. And one aspect of the cuts has been the general slackening-off of illegal parkers getting their collar felt.
Our little section of pavement is a bit of a honeypot for the illegal parker, as it happens, as there is a handy rank of shops over the road (Spar, kebab shop, post office, chemist, betting shop) with limited parking in front of them. So there's an understandable temptation for people to just pull up on the kerb, dash across the road, pick up a large doner and chips and then be off again. And in a sense I don't mind that, as long as parkers display a minimal level of sense and park in front of one of the many generous sections of wall that are provided (picture courtesy of Google StreetView, just in case that wasn't obvious).
It's really only when people ignore the wall sections and park across the end of our drive that annoyance ensues. I have on a couple of occasions arrived back from picking up the girls from school/nursery/childcare only to find a car abandoned across our drive with freely available sections of wall on either side.
I should reiterate at this point that I had nothing to do with the wording other than auditing the spelling (at Paula's request). My personal view is that the words "Polite Notice" on a notice of this sort are either a) redundant, since it's obvious, or more likely b) passive-aggressive bullshit, since it's not really polite at all. But I really didn't feel that I cared enough to get involved. Anyway, the sign is up now, so we'll see whether people oblivious enough to park across a clearly visible driveway are inclined to stop and read a sign and modify their behaviour based on its wording. Personally I have my doubts.
Ironically, we've had fewer problems with inconsiderate idiots just lately, as the pavement space by our front wall has been partially occupied for the last three weeks or so by a small silver Nissan hatchback. It's parked quite neatly in front of the wall, so it's not inconveniencing us in terms of being able to get in and out, and it's positioned in such a way as to make it impossible to just swing onto the pavement and end up blocking our drive; you'd have to swing onto the bit of pavement in front of the house next door and then reverse back. Clearly people aren't going to do that, since the whole point of the manoeuvre is to park and abandon the car as quickly as possible with minimal repositioning.
But, on the other hand, it's clearly been abandoned, and sooner or later someone's going to set fire to it or break in and start sleeping in it. The reason it's no longer being driven becomes clear if you use the DVLA's vehicle enquiry service to look up its tax and MOT status: while it's taxed until the beginning of September, it doesn't have a current MOT. And sure enough if you have a sneaky look inside there is even an MOT certificate refusal printout on the passenger seat, which reveals some minor-sounding electrical issues and some more serious-sounding exhaust and emissions problems as the reason for failure.
In keeping with my low-ish level of concern about the situation I've been indulging in some gentle low-level trolling of Gwent Police on Twitter, just to try to prompt them to take an interest. I suspect that when I finally decide I'd like it towed away I may have to ring up and register some sort of official request, though.
Turns out that while this may have been true in the heady days of the mid-to-late-noughties, it isn't true any more. I don't want to get all EVIL TORIES WITH THEIR CUTS AND AUSTERITY AND THAT on your ass, but it is nonetheless true that most forces have seen numbers cut and, as much as I'd like police priorities to be primarily focused on my personal comfort and convenience and more generally being the shepherd protecting my righteous ass in the valley of darkness, that shit ain't the truth. And one aspect of the cuts has been the general slackening-off of illegal parkers getting their collar felt.
Our little section of pavement is a bit of a honeypot for the illegal parker, as it happens, as there is a handy rank of shops over the road (Spar, kebab shop, post office, chemist, betting shop) with limited parking in front of them. So there's an understandable temptation for people to just pull up on the kerb, dash across the road, pick up a large doner and chips and then be off again. And in a sense I don't mind that, as long as parkers display a minimal level of sense and park in front of one of the many generous sections of wall that are provided (picture courtesy of Google StreetView, just in case that wasn't obvious).
It's really only when people ignore the wall sections and park across the end of our drive that annoyance ensues. I have on a couple of occasions arrived back from picking up the girls from school/nursery/childcare only to find a car abandoned across our drive with freely available sections of wall on either side.
Hazel has experienced the same thing and as she's more prone to getting all irate and SOMETHING MUST BE DONE about these things she suggested getting a sign made that we could put on our gatepost. So she and her sister Paula cooked up some wording and Paula got a sign made on a classy bit of Welsh slate as a birthday present. That was in May but I've only just got round to putting it up.hey @SolusCoaches, is YJ04NGE still one of yours? https://t.co/hfvpCSbUGB because some terrible arsehole was driving it yesterday.— Dave Thomas (@electrichalibut) 11 March 2016
I should reiterate at this point that I had nothing to do with the wording other than auditing the spelling (at Paula's request). My personal view is that the words "Polite Notice" on a notice of this sort are either a) redundant, since it's obvious, or more likely b) passive-aggressive bullshit, since it's not really polite at all. But I really didn't feel that I cared enough to get involved. Anyway, the sign is up now, so we'll see whether people oblivious enough to park across a clearly visible driveway are inclined to stop and read a sign and modify their behaviour based on its wording. Personally I have my doubts.
Ironically, we've had fewer problems with inconsiderate idiots just lately, as the pavement space by our front wall has been partially occupied for the last three weeks or so by a small silver Nissan hatchback. It's parked quite neatly in front of the wall, so it's not inconveniencing us in terms of being able to get in and out, and it's positioned in such a way as to make it impossible to just swing onto the pavement and end up blocking our drive; you'd have to swing onto the bit of pavement in front of the house next door and then reverse back. Clearly people aren't going to do that, since the whole point of the manoeuvre is to park and abandon the car as quickly as possible with minimal repositioning.
But, on the other hand, it's clearly been abandoned, and sooner or later someone's going to set fire to it or break in and start sleeping in it. The reason it's no longer being driven becomes clear if you use the DVLA's vehicle enquiry service to look up its tax and MOT status: while it's taxed until the beginning of September, it doesn't have a current MOT. And sure enough if you have a sneaky look inside there is even an MOT certificate refusal printout on the passenger seat, which reveals some minor-sounding electrical issues and some more serious-sounding exhaust and emissions problems as the reason for failure.
In keeping with my low-ish level of concern about the situation I've been indulging in some gentle low-level trolling of Gwent Police on Twitter, just to try to prompt them to take an interest. I suspect that when I finally decide I'd like it towed away I may have to ring up and register some sort of official request, though.
This car parked outside our house for a couple of days now. Bonnet slightly open, looks abandoned. @gwentpolice pic.twitter.com/ZFtbLDzqkr— Dave Thomas (@electrichalibut) 6 July 2016
Friday, July 22, 2016
celebrity fantasy edificylikey of the day
I could not begin to guess how many times my elder daughter has watched Frozen, but it's a lot. I myself have seen significant chunks of it on a number of occasions, though I've never watched it all the way through. Oddly, I am much more familiar with the second half of the film, as I generally seem to wander in around the time Elsa (or, to put it another way, Idina Menzel) is belting out the film's signature song, Let It Go. This does mean I generally catch the bit where Anna says to Kristoff "I want you to take me up the North Mountain" and I have to suppress a snigger.
As if the vocal gymnastics of the song didn't give her enough to do, Elsa also conjures up a spectacular crystalline ice palace out of thin air while she's singing. Well, she is magic, after all. It was only on the most recent viewing of the scene that it occurred to me what it reminded me of: the similarly spectacular crystal palace that Dr. Manhattan builds during his exile on Mars in Watchmen.
As always, I am far from the first person to make this connection, and, as this Slate article points out, there are a number of plot parallels as well: key character with extraordinary powers that they are obliged to rein in to be acceptable to society, voluntarily exiling themselves and giving those powers free rein. Dr. Manhattan doesn't sing, though.
As if the vocal gymnastics of the song didn't give her enough to do, Elsa also conjures up a spectacular crystalline ice palace out of thin air while she's singing. Well, she is magic, after all. It was only on the most recent viewing of the scene that it occurred to me what it reminded me of: the similarly spectacular crystal palace that Dr. Manhattan builds during his exile on Mars in Watchmen.
As always, I am far from the first person to make this connection, and, as this Slate article points out, there are a number of plot parallels as well: key character with extraordinary powers that they are obliged to rein in to be acceptable to society, voluntarily exiling themselves and giving those powers free rein. Dr. Manhattan doesn't sing, though.
Tuesday, July 19, 2016
cobblers!
Among the huge collection of books that we read with Nia and Alys are a number that either Hazel or I had as children. Now there's a bit of a vetting and weeding-out process that these things have to go through before we approve them for consumption by our own kids, mainly to ensure that they aren't terrifyingly bloodthirsty religious tracts, unspeakably violent in some other way, or over the edge in terms of adhering to outdated sexist stereotype: you know, passive pretty princess in pink awaiting rescue by some muscular square-jawed prince in tights brandishing a MASSIVE SWORD in some eye-wateringly Freudian way.
I don't want to give you the impression that our childhood reading material was a horrendous parade of rape and disembowelment, and most of the books are fine. Which isn't to say that some of the "classic" fairy stories aren't a bit weird, though. There's the health and safety implications of uncontrolled eating of porridge off the pavement, for example, but consider also the hoary old tale of The Elves and the Shoemaker. What's going on there then? I mean, I get the basic thrust of the story, but why were the elves compelled to come in and do all that hard work in the first place? The shoemaker and his wife are basically a nice couple and they reward them in the end, at which point they skip gaily off never to be seen again, but I don't think we're meant to infer that they were doing all the cobbling in the expectation of reward. There's some back-story there that we're not privy to, I think.
Clearly the reason we're not given the elves' back-story in our Ladybird edition is that the authors and illustrators (whoever they were) were too busy shoehorning in a load of lascivious subtext. Take a look at the shoemaker and his wife.
He's a wizened little goblin of a bloke with a luxuriant white moustache, while she's clearly much younger and a bit on the buxom side. No wonder they're practically reduced to penury - he's got no time, still less inclination, to be spending hours hammering shoe-leather together when he could be upstairs hammering her nubile young flesh.
I don't want to give you the impression that our childhood reading material was a horrendous parade of rape and disembowelment, and most of the books are fine. Which isn't to say that some of the "classic" fairy stories aren't a bit weird, though. There's the health and safety implications of uncontrolled eating of porridge off the pavement, for example, but consider also the hoary old tale of The Elves and the Shoemaker. What's going on there then? I mean, I get the basic thrust of the story, but why were the elves compelled to come in and do all that hard work in the first place? The shoemaker and his wife are basically a nice couple and they reward them in the end, at which point they skip gaily off never to be seen again, but I don't think we're meant to infer that they were doing all the cobbling in the expectation of reward. There's some back-story there that we're not privy to, I think.
Clearly the reason we're not given the elves' back-story in our Ladybird edition is that the authors and illustrators (whoever they were) were too busy shoehorning in a load of lascivious subtext. Take a look at the shoemaker and his wife.
He's a wizened little goblin of a bloke with a luxuriant white moustache, while she's clearly much younger and a bit on the buxom side. No wonder they're practically reduced to penury - he's got no time, still less inclination, to be spending hours hammering shoe-leather together when he could be upstairs hammering her nubile young flesh.
Even the title of the book is a smutty joke in innocent disguise. The Elves And The Shoemaker? Look at the initials: TEATS. Utter filth.
tanks for the memory
Here's one for the "coincidence?? OR IS IT??!?!!!? yes; yes it is" files - last night while I was cooking dinner I caught the second half of what turned out to be a repeat showing of an episode of Underground Britain on Channel 5. Quite interesting as it included presenter Rob Bell visiting the old Inchindown fuel storage facility near the Cromarty Firth, one of those things that's big enough to be measured in football pitches, as part of the ascending London bus/football pitch/Wales alternative chummy slightly patronising man-in-the-street SI scale of size comparison units.
One of the things that people inevitably do in large enclosed spaces is a bit of the old shouting, just to test out the echo and reverberation properties of the space. In an attempt to apply a bit of a sciencey gloss to this the programme wheeled in Trevor Cox, a physicist specialising in acoustics, who, it turned out, had made use of the space in early 2014 to set a world record for the longest-lasting reverberation. This Herald Scotland article gives a bit more detail, although strangely it does refer to him as "Steven Cox" throughout.
So then this morning I was listening to Radio 4 on the way to work, as I usually do, and Jim al-Khalili's The Life Scientific came on. Jim's guest? None other than Trevor Ruddy Cox, acoustic physics guy and possessor of the world record for longest reverberation. It fair makes you think: maybe there really is a divinity that shapes our ends, rough-hew them how we will. Oh all right, no it doesn't.
One of the things that people inevitably do in large enclosed spaces is a bit of the old shouting, just to test out the echo and reverberation properties of the space. In an attempt to apply a bit of a sciencey gloss to this the programme wheeled in Trevor Cox, a physicist specialising in acoustics, who, it turned out, had made use of the space in early 2014 to set a world record for the longest-lasting reverberation. This Herald Scotland article gives a bit more detail, although strangely it does refer to him as "Steven Cox" throughout.
So then this morning I was listening to Radio 4 on the way to work, as I usually do, and Jim al-Khalili's The Life Scientific came on. Jim's guest? None other than Trevor Ruddy Cox, acoustic physics guy and possessor of the world record for longest reverberation. It fair makes you think: maybe there really is a divinity that shapes our ends, rough-hew them how we will. Oh all right, no it doesn't.
Sunday, July 17, 2016
regarding Henrik
Among the ludicrous number of records set by the thrilling last round of the Open Championship at Royal Troon today, and Henrik Stenson's victory - lowest aggregate score (264) in major championship history, equal-lowest score in relation to par in major championship history, first Swedish player to win a men's major - the ones that resonate most closely with the particular obsessions of this blog are the two rounds of 63 that bookended the tournament. Not only were they made by the two men (Mickelson and Stenson) who contended for the title, but they illustrated perfectly the two ways in which 63s can be made. Stenson's was the textbook grandstand finish, winnng in style with a 15-foot birdie putt on the 18th to become only the second man after Johnny Miller in 1973 (the very first 63 of all) to shoot 63 in the last round of a major to win. Mickelson, on the other hand, had a putt for a 62 which looked to be in all the way until it lipped out at the last moment, something that Johnny Miller, Nick Price and Tiger Woods (and possibly others) can sympathise with.
Stenson's round therefore becomes the seventh of the 29 to deliver a win, while, inevitably, Mickelson's becomes the 22nd that didn't - he becomes the sixth player to shoot one and finish runner-up. This year's Open also becomes the fourth major championship to include two separate rounds of 63, after the 1980 US Open, the 1993 Open and the 1995 USPGA.
No mention of this year's Open will ever be complete without comparing the Mickelson/Stenson duel to the Watson/Nicklaus Duel In The Sun at Turnberry in 1977. I agonised about whether I should list that as the first Open I remember seeing when I was constructing this list, as I have a definite memory of seeing it, and the climactic bit on the 18th green (and Tom Watson's spectacular 1970s check slacks) in particular, as a small boy, but I couldn't say with absolute certainty that it was live, or reasonably near-live. I'm pretty sure it was, and it's not conclusively ruled out by our having been out of the country (as we were for the 1975, 1976 and 1979 Opens), but I decided I couldn't be sure enough to include it, so I went for 1981, which I was sure about, instead. Possible nicknames for this and future head-to-head duels at Open Championships are below, and can be tailored to the prevailing weather conditions as appropriate:
Stenson's round therefore becomes the seventh of the 29 to deliver a win, while, inevitably, Mickelson's becomes the 22nd that didn't - he becomes the sixth player to shoot one and finish runner-up. This year's Open also becomes the fourth major championship to include two separate rounds of 63, after the 1980 US Open, the 1993 Open and the 1995 USPGA.
| Player | Tournament | Year | Round | Result | Winner |
|---|---|---|---|---|---|
| Johnny Miller | US Open | 1973 | final | WON | Johnny Miller |
| Bruce Crampton | USPGA | 1975 | second | 2nd | Jack Nicklaus |
| Mark Hayes | Open | 1977 | second | tied 9th | Tom Watson |
| Jack Nicklaus | US Open | 1980 | first | WON | Jack Nicklaus |
| Tom Weiskopf | US Open | 1980 | first | 37th | Jack Nicklaus |
| Isao Aoki | Open | 1980 | third | tied 12th | Tom Watson |
| Raymond Floyd | USPGA | 1982 | first | WON | Raymond Floyd |
| Gary Player | USPGA | 1984 | second | tied 2nd | Lee Trevino |
| Nick Price | Masters | 1986 | third | 5th | Jack Nicklaus |
| Greg Norman | Open | 1986 | second | WON | Greg Norman |
| Paul Broadhurst | Open | 1990 | third | tied 12th | Nick Faldo |
| Jodie Mudd | Open | 1991 | final | tied 5th | Ian Baker-Finch |
| Nick Faldo | Open | 1993 | second | 2nd | Greg Norman |
| Payne Stewart | Open | 1993 | final | 12th | Greg Norman |
| Vijay Singh | USPGA | 1993 | second | 4th | Paul Azinger |
| Michael Bradley | USPGA | 1995 | first | tied 54th | Steve Elkington |
| Brad Faxon | USPGA | 1995 | final | 5th | Steve Elkington |
| Greg Norman | Masters | 1996 | first | 2nd | Nick Faldo |
| Jose Maria Olazabal | USPGA | 2000 | third | tied 4th | Tiger Woods |
| Mark O’Meara | USPGA | 2001 | second | tied 22nd | David Toms |
| Vijay Singh | US Open | 2003 | second | tied 20th | Jim Furyk |
| Thomas Bjorn | USPGA | 2005 | third | tied 2nd | Phil Mickelson |
| Tiger Woods | USPGA | 2007 | second | WON | Tiger Woods |
| Rory McIlroy | Open | 2010 | first | tied 3rd | Louis Oosthuizen |
| Steve Stricker | USPGA | 2011 | first | tied 12th | Keegan Bradley |
| Jason Dufner | USPGA | 2013 | second | WON | Jason Dufner |
| Hiroshi Iwata | USPGA | 2015 | second | tied 21st | Jason Day |
| Phil Mickelson | Open | 2016 | first | 2nd | Henrik Stenson |
| Henrik Stenson | Open | 2016 | final | WON | Henrik Stenson |
No mention of this year's Open will ever be complete without comparing the Mickelson/Stenson duel to the Watson/Nicklaus Duel In The Sun at Turnberry in 1977. I agonised about whether I should list that as the first Open I remember seeing when I was constructing this list, as I have a definite memory of seeing it, and the climactic bit on the 18th green (and Tom Watson's spectacular 1970s check slacks) in particular, as a small boy, but I couldn't say with absolute certainty that it was live, or reasonably near-live. I'm pretty sure it was, and it's not conclusively ruled out by our having been out of the country (as we were for the 1975, 1976 and 1979 Opens), but I decided I couldn't be sure enough to include it, so I went for 1981, which I was sure about, instead. Possible nicknames for this and future head-to-head duels at Open Championships are below, and can be tailored to the prevailing weather conditions as appropriate:
- the Battle In The Breeze
- the Fracas In The Fog
- the Melee In The Mist
- the Scrap In The Squall
- the Disagreement In The Drizzle
- the War In The Warmth
Subscribe to:
Posts (Atom)