It’s early springtime in Scotland. That would explain the snow on the Castle’s roofs and battlements then…
Today marks World Book Day. No secret on here, my love of reading and writing and the magic of words. I’ve been a reader for as long as I can remember, I really can’t recall a time when I didn’t read; I still have those fragmentary, dream-like images of partial memory from my youngest days as a very small boy, even before school age, reading my comics, enjoying children’s books. More memories of a little older and being taken to the local library regularly by my mum and dad, and always more comics each week (those were the days when kid’s comics like the Beano etc sold in the million, every kid in every playground read them). Making that weekly diet of comics more fun was the fact that my dad would often read them too and would riff on them – each year on holiday there was a small shop that always had some US imports, including kid-friendly titles like Sad Sack, and he’d read those too then use some of the lines with me during the day.
I’ve been a reader so long my body and brain have evolved; like many readers I can breathe words. In fact like many other readers I need to breathe words. I need words like I need oxygen and food and water. They mediate my existence, my view of and interaction with, the world and they shape my response to it. And on World Book Day I would like to ask you to pause in your busy life of work, family, chores and worries and responsibilities. Not just pause to read something and refresh your soul a little, but pause and consider something so seemingly mundane, so everyday that most people for most of the time – even those of us who live in books – forget that it’s not everyday, it’s not mundane or ordinary, it is nothing short of miraculous. I’m talking about words. Language. The mere fact that somehow in our long, convoluted evolution this most remarkable faculty in the universe came forth.
Argument still rages over how our ancestors evolved this remarkable ability of language, of speech, and all that goes with it, and probably there will always be various theories over how it happened, how both our physical form (lips, larynx etc) and our mental abilities (that growing, big brain that marks out homo sapiens) both grew to make complex language possible. Other animals have communication, a very few have highly complex communication – the great whales and dolphins, for example, may well have a linguistic system as complex as ours, in its own way. But how utterly astonishing it is we have that language – we can’t conceive of thought without language, we need thought to shape language. Our linguistic ability allows us to shape thoughts, emotions, even abstract reasoning and ideas from expressing “I love you” to composing poetry to articulating the design for a rocket to the Moon.
And then we slowly learned to take those words from our lips, from our minds, and to put them on papyrus, on stone, on clay tablets, vellum, paper, digital screens. We learned to write them. And suddenly we had books – we had exo-somatic memory, that is memory that lives on outside of our heads. When the wise elders of the tribe passed away before the written word, we had only our oral tradition to remember their important experiences and knowledge. And impressive as the oral tradition of our ancestors were (think of the great bards of the Homeric era singing the entire Iliad long before it was written down, or the druids of our own land training their memories to store vast amounts of knowledge), it can never store as much information as books can, and it can’t, crucially, communicate them as widely. With Gutenberg and moving type print books moved from hand-written to mass-produced and ideas spread like wildfire across the globe. Now the internet does the same (not always in the best ways, but not all ideas are good ideas after all!).
And on this day I’d like people to pause for a moment and just reflect briefly on how utterly amazing this aspect of human life is. We sculpt ideas inside our minds, our voice can articulate them, even complex or intimate ideas, and communicate them to others. We can put those words down on paper or screen and share them with anyone who cares to read them. The written word, a medium which allows telepathy, the transference of ideas and images and thoughts from one mind to many others and back again in a complex, interactive web. And we’re so used to this casual miracle we don’t often stop to think just how amazing it is. And how amazing that we turned that astonishing faculty into an object – the written word, the book – that we can share, which can still share out thoughts and ideas and stories when we’re not present personally, even after we’re long gone, a piece of thought made into a sculpture of printed words to traverse time and space in a way our frail physical form cannot.
Science fiction is fond of the scenario where an advanced alien species judges humans and finds us primitive, dangerous, violent and demands to know why we should be allowed to continue. I would take them to one of our great libraries and simply say “we created the book.”
The Death House,
I’ve admired Sarah Pinborough’s writing for several years – she’s consistently proven herself to be one of the more fascinating new talents in the UK fantastic genres, and I’ve been especially delighted with the ways in which she crafts stories which you often can’t simply label into one genre or another, as, like a number of other fast-rising (and fascinating) writers such as Lauren Beukes for example, she deftly manages to pull elements from various places, from horror tropes to science fiction or thriller or crime and re-weaves them into something far more compelling. Sarah has also enjoyed success as a Young Adult author, and with her new book, The Death House, she is again dancing around the edges of several genre ballrooms, picking her dancing partners from different rooms at different points; indeed, as well as a delightful weaving of elements from various genres into something new, here she also manages to craft a book which functions perfectly well as an engrossing tale for an adult or for a YA reader.
It’s sometime in the near future, but we don’t know exactly when. Or even where. In fact there’s a quite deliberate lack of solid information in The Death House. We know were are in a future Britain, but we don’t really see it, except in some memories of the children in the house, because our point of view is Toby, a teenage schoolboy, sent to the eponymous house along with other children, because they are “defective”. This future world has some sort of illness – a plague, virus, genetic disorder? We never really know and it doesn’t really matter, because what matters is anyone whose blood test comes up with the wrong result is taken away to one of these isolated homes – there is no appeal, the operation is carried out with clinical, almost Fascist like efficiency and lack of mercy, dark vans swooping on homes, children torn from the arms of their parents. And no-one comes back from a Death House. And no-one outside knows what happens, except it is where the ill kids are taken to await the signs of their symptoms beginning to surface. And even the kids in the house don’t know exactly what this illness is, or even what the symptoms are – different symptoms seem to manifest in different people at different times.
The nursing staff and the token teaching staff in the house (isolated on an island) don’t explain any further, and this just adds to the overbearing atmosphere of fear and despondency. These are youngsters, and they are marked to slowly die, cut off entirely from their previous life, even letters from parents forbidden. It’s just them and the very remote nursing staff who do their best to never treat their young charges as anything other than a job; no emotional bonding or caring here, it’s like an even more hellish version of a boarding school combined with that fear all humans carry of serious illness, the children isolated, physically and emotionally. Toby is the oldest in his dorm and has reluctantly taken on the role of leader for the younger boys in his room, but much of the time he avoids anything that smacks of entanglement, because what’s the point? Today, tomorrow, a month, a year, he is is here till he suddenly develops symptoms (and what symptoms? in the absence of facts, just like every media fulled panic of any new illness there is a Chinese Whispers effect as the kids tell each other about it, although none really know).
His only escape is at night – as the house sleeps Toby pads out quietly to explore, a tiny bit of rebellion and adventure which he has to himself. Until Clara arrives among the latest group, a girl around his age, straight away she attracts attention among the older boys, except for Toby (who had been daydreaming of a girl at school he hoped to get off with at a party just before the black vans came for him). And then he finds Clara too avoids the pills at night and explores the house, during what he considers his time. How dare she! And yes, you just know that his antipathy and his defensive recoiling from any deep attachment just isn’t going to survive against the energy of the life-loving Clara…
And there you go again, Pinborough delighting in mixing genres – we’ve already got a Dystopian science fiction future, a dark, old house right out of a Victorian horror tale, and now we have romance woven into the mix. And more than that, it’s that intense first romance, that type that flares among the confusions of adolescence and burns with an intensity unlike any other you ever experience. And Pinborough charts the development of their friendship then romance wonderfully, the shyness but eagerness, the mixture of fear and desperate hope. And over all this hangs their fate as Defectives, locked away in the house to await their seemingly inevitable fate. One day they will start to manifest symptoms and when they do the impassive nurses will take them away in the middle of the night, while the others sleep, to the upper floor. No-one knows what happens there and nobody returns from that floor. Do they die? Mutate? Are they the subject of experimentation into the Defective? Anyone who’s dealt with serious illness or watched a loved one suffering has felt that numbing horror of feeling totally helpless, and here these kids are living in that state every day.
Again, as I said earlier, Pinborough deliberately holds back on explanations: in some ways it is maddening and frustrating, but I suspect that’s part of the point here – we’re in the same position as Toby and the other kids here. It’s barely mentioned in the outside world and once they are labelled and caught up in the house programme they have no contact at all ever again with the outside world, so they have no access to any information, or any adult who will act as their champion. It’s like being a combination of a child with a terminal illness and being an illegal refugee at the same time, sealed away, forgotten, nobody knows, nobody cares about you or speaks for you or strives for you. Pinborough instead uses this lack of solid information to create Poe-like levels of creeping fear in this old house, and also as a good way of building up the relationships between the kids held inside it, from moments of fear and worry (and attempts by some of them to help and reassure the others) to moments of childlike joy (it suddenly snows, something none of them have ever seen before – it hasn’t snowed in this future UK for a long time, it seems). And as Toby and Clara start to bond on a deep level they start to question their assumed fate in that way only a teen can, that remarkable defiant stance, won’t happen to us, we will survive somehow, escape somehow, live together somehow… Somehow…
The Death House is a masterful piece of writing craft – I think most authors would have felt compelled to add much more exposition and much more explanation in here, more background to this future society, to how it evolved in a way that the state can just take your kids from you and seal them away to die, more details about the illness itself, what it is, what causes it, why does it require such drastically cruel, inhuman treatment to be visited on children? And yes, part of me really wanted to know more about those aspects of this world, but on reflection those are just details, and distracting ones at that. Pinborough, wisely, I think, eschews those partly because it enhances the sense of isolation and dread and fear in the house and among the young patients/prisoners, but also partly because she is more interested in the psychological and emotional effects this has on those kids, and that’s far more satisfying, especially as she is simply so damned good at writing adolescents, from the younger ones to those in that awkward, almost an adult but not there yet late teen period. Hugely compelling and emotional, dark, disturbing, yet also with lighter moments and that slowly emerging first love romance shining through it (as Jeff Goldblum put it in Jurassic Park, life keeps finding a way, even in a home seemingly only for the lost), with very believable young characters that works for adult and YA reader alike, and as with a lot of writing across the centuries to do with the inevitability of death, this isn’t really about death. It’s about living.
Yes, I know James has already reviewed this (see here) a few weeks ago ahead of it’s release, but there are some books which you can’t resist posting another review of, they get too deeply into your thoughts and emotions. And since it is now on shelves and would be too easily overlooked I think it’s alright to indulge in a second opinion and commend a remarkable reading experience to your attention.
There are still many more interesting comic works coming out in Europe that we don’t get to see here, but thankfully things have improved in recent years, with more translations and more English language editions appearing via some quality publishers like Knockabout, who have translated (another good job by Nora Goldberg – the translators, like editors, often get too easily overlooked for their contribution) Paco Roca’s absolutely beautiful Wrinkles, a gorgeous, funny, sensitive book about family, friends, getting older, declining health.
Our central character, Ernest, a retired bank manager, finds himself being dumped into a care home as his dementia slowly increases, all but abandoned by his son and his family (it isn’t just that they can’t give him the extra care he needs at home, that would stretch a saint’s patience, but his son makes it clear he has little in the way of plans to even visit the old man once he is in the home, as he is “busy”) – you may expect this to be a downer, an old man dumped into a waiting room for the terminally declining. And while Roca doesn’t shy away from the human tragedy of both body and mind slowly betraying us as we age, this is not an especially sad tale.
“Those who can’t manage on their own anymore finish up there… Those who have lost their minds, dementia, schizophrenia, Alzheimer’s… Better to die than end up there.”
True there are sad moments, but they are the “beautifully sad” variety that make you smile as much as cry. And for the most part Roca injects the story with humour and some wonderful characters. These people are old, their marbles are slowly being lost one by one as their condition worsens – the “walking wounded” who can still take care of themselves live on the ground floor – the stairs to the upper floor, an ominous presence in their lives, lead to the ward where those too far gone to perform even the most basic functions for themselves are taken to wait in bewilderment for the end, all dignity gone.
Arriving at the home Ernest is introduced to the various characters who live there, including, most prominently, Émile, who will be his room-mate. And old Émile is quite a character, a scoundrel, but a charming one – you get the impression he was a bit of a Jack-the-lad in his younger years, and he has a nice sideline in scamming some of the more mentally impaired residents for a few Euros here and there, building up a little pile of money that he uses to great effect later on in a major scene for him, Émile and some of the others.
Ernest, as perhaps befits an old-fashioned bank manager, is a little distrustful of the chancey Émile, and yet the two start to form a friendship in this, their declining years, and with the other few residents who still have enough mental integrity left to look after themselves, a small band of very different people from different walks of life, brought together by their shared conditions and aware of how little time is left to them before the fog in their minds swallows all that made them individuals. But there are still sparks of life – old Eugene in the physio session managing to trick the attractive nurse into leaning right over him to help so he can then cop a feel of her breasts (much to the amusement of all the other eldsters).
And others are in a dreamlike form of escapist fantasy, such as Mrs Rose, who stares out the window all day, but in her head she is looking out the window of a carriage of the Orient Express, on her way to Istanbul, Europe passing before her eyes, and she is young and elegant again; she can still interact with the other patients, but only seeing them as fellow passengers. Rose is lost from the real world, but, like Don Quixote or Gaiman’s Emperor Joshua Norton before her, she is happy in her fantasy, happier than her real-life situation could ever make her; her mind has concocted an escape route that keeps her content and really, you don’t want them to do what they did to the Don and make her face the harsh reality; let her dream happily whatever days she has left.
In some ways this is like a 1980s high school romp film – the ‘inmates’ usually have to follow rules and schedules, but sometimes they like to play up, or even indulge in some Ferris Bueller style “day off” time and escape the confines of the care home (it doesn’t go quite as well as Bueller’s day). And indeed the school allegory is one Rosa touches on directly, Ernest’s damaged memory on his first day in the home flashing all the way back to childhood and his first day at school, both daunting, emotional moments where we feel adrift and alone, unsure of ourselves or where we are.
Then there is Émile, who for all his faults, does seem to come to care genuinely for Ernest, helping him as his condition deteriorates. They are pals, and both know their time is limited, Ernest in particular showing increasing signs of mental deterioration. And of course, it continues to deteriorate – the only fantasy here is in the damaged brains of the patients, the rest is the real world, and in the real world, unfortunately, we know all too damned well that these conditions worsen until one days there is nothing left of the person who was once so vital.
In one heartbreaking but incredibly touching scene, after Ernest is given his Alzheimer’s diagnosis by the doctor, he asks Émile to show him that upper floor, where the hopeless go. It’s worse than he thought, and he knows he is potentially looking at his own very near future, mind gone, but body still ticking over, and he begs Émile, his new friend, please help me, don’t let me end up there. And Émile, bless his normally scoundrel-like heart, tries to help his friend, the two sharing reading and discussion because they heard this helps keep the brain going against the deterioration. And both knowing it probably won’t work, especially when Ernest tells him he’s read some Marquez (the remarkable Love in a Time of Cholera), but then can’t remember what it was about…
There’s no happy ending here, no sudden miracle cures; Roca depicts this quietly, subtly, a sudden empty chair at lunch signifying another gone to the upper floor, while he uses the comics medium to give us glimpses into the deteriorating minds of the patients in a way no other narrative structure could, skipping between flashbacks and imagined fantasy scenes to the real setting, or that sad yet lovely image on the cover of Ernest, head out the train window, photographs – his memories – spilling out into the slipstream, and yet he is with Mrs Rose on the Orient Express, and seemingly happy. There’s a sad sense of inevitability here, the darkening future bearing down on all of them and there’s nothing they can do about it; old age, illness, death, sureties for all human, rich and poor, since the dawn of mankind. And yet still Wrinkles resolutely refuses to be gloomy. And when the reading scheme fails to improve Ernest’s memory, his wily friend then resorts to his trickster ways to help Ernest evade the upper floor for as long as he can.
It’s an achingly beautiful bit of work by Roca, with much gentle humour laced through it all. This could have remained as sensitive as it is but been much more serious and darker in tone, but I am so glad he opted for the lighter touch. Not just because it leavens the darker aspects (we know all of these people only have a short time left, and, worse, that most of them will lose their minds before the end, leaving just a body that no longer knows itself or its family or friends, a wretched situation too many families have to slowly endure). But because it reminds us that everyday life, even at that advanced age, even in a place like a care home, still throws up funny moments, little laughs, interactions with friends – in short all the little things that make up our days and make life bearable. Despite what is facing them, despite being left where they are, these people are still alive and still human, Rosa is saying, and he gives them all, even the supporting cast, real character and make us care for them, root for them.
Wonderfully, humanly warm, emotive, funny, sensitive, and cleverly exploiting the abilities of the comics medium to tell a story in a way only a comic could. A scant few weeks into the New Year and already I know this will feature on my Best of the Year list come December.
This review was originally penned for the Forbidden Planet Blog
Walking through historic Greyfriar’s kirkyard at the weekend (walking off a delicious Semla – a Swedish cream cake made only for a few weeks as part of an old Lent tradition), spotted little squirrel sprinting across the grass between the old tombstones, pausing to pick up little twigs and leaves. Couldn’t get a photo as he was too darned fast, zipping along then onto a tree, up and around to the other side. I followed him around but there was no sign of him. Then I saw movement, and noticed a small hole in a knot of of the tree trunk. And sure enough it turned out to be his little hidey-hole, and as I watched patiently he stuck his cute wee head out for a look down at me (you can see him right in the centre of the pic):
A few moments later he darted out, grabbed more of his little collection of twigs and leaves and dragged them back into his little tree home, front paws fiddling around inside while his bum and bushy tail hung out the entrance. Either that or I had just been mooned by a squirrel…
Andy Hixon first came onto my radar when he created the rather unique-looking artwork for Ravi Thornton’s Tale of Brin and Bent and Minno Marylebone tale, and his highly unusual artwork was a perfect match for that story which veered between seedy, grim realities and magical fantasy. Like the great Dave McKean Andy mixes drawn art with sculpted figures and model sets and montage work, creating imagery that, to me, looked like still from an animated film, something the Brothers Quay or Jan Svankmajer might create, with that quite intoxicating, contrasting feeling of very down at heels, grim reality against a sense of the more fantastical, hope mixed with the grotesque, creating a similar feeling perhaps to that in the best League of Gentlemen episodes.
In this, his solo full-length work, this artistic approach serves him well, suiting the story perfectly. We follow two main characters, Brick and Morty, a pair of broken, damaged characters adrift in the uncaring, crumbling society of today, living on the edge. Literally on the edge and crumbling – their derelict seaside town, Lucia, is slowly dissolving into the waves, the only house Morty and Brick can afford is right on the cliff edge, next in line to vanish as the cliffs crumble into the sea.
On both the physical and the societal scale, these men are on the edge and that edge is eroding out from under them daily, with nowhere else to go. Morty is a wheelchair-bound man who has seen better days, a wife, dreams of a decent life together, of a career as a respected writer, Brick lives in a delusional state, convinced he will, if he keeps training, become the Ultimate Fighting Welterweight champion of the world. Despite being a tiny, skinny wee bloke who’s not terribly smart. His profile on his website and his dating platform are full of totally imaginary conquests of Herculean effort; while Morty dreams of a return to better times poor Brick seems to really believe his own fabrications and delusions.
But when you look around Lucia you can easily see why Brick chooses to hide in his made-up world where he can be this physically impressive champion; Lucia is a dreadful place, a sort of purgatory almost, where damaged souls wait without hope. Perhaps like Walter Mitty or Don Quixote before him, Brick needs those delusions – hell, we all need little daydreams sometimes to make the harder parts of life more bearable. But with such a bleak environment, so grim, so hopeless, you can’t blame the little guy for believing in his dream, that if he keeps going he will be what he imagines himself to be, even though he never, ever will be. And like Quixote before him the reader comes to love him, not in spite of his delusions, but because of them, and to not want them to be broken, because to expose him to cold reality, even if it could be done (he is pretty far gone into his own world), it would break him. His own form of dreaming madness keeps him together in this awful world.
No such escape for Morty though, his body broken but his mind still sharp, able to contemplate their situation as they pass boarded up shops on the seafront, like many old seaside towns once a hub of family holidays, nowadays derelict and empty save for the “gold for cash” pawn shops, the bookies and the employment exchange (which in a very symbolic scene is actually in a street already swallowed by the sea, but being a tall office block they just moved the offices up to the floors above the tide mark, meaning you have to row over on a boat to claim your job seeker’s allowance – and naturally if you can’t get to this awkward place you are cut from your benefits).
But I don’t want to give the impression this is one, long gloomy trip. True, both Lucia and its inhabitants of strange, twisted grotesques evoke a sense of abandonment, of the inevitable crumbling of society, alluding to the state of post financial crash and Coalition-government Britain of bedroom tax on the disabled and entire swathes of the most vulnerable failed or outright abandoned by the older social nets that were there to help them back on their feet. And sadness does permeate – a scene of Morty outside the pawn shop, contemplating his golden wedding ring, all he has left of his previous life, is heartbreaking, all the more so because we know real people are making similar choices in the legions of these businesses up and down every town in the country.
And yet this is not a gloom-fest. I likened the look and feel to the League of Gentlemen earlier, and just like that wonderfully bizarre show this can go from pathos or plain disturbing to incredibly funny (even if it is dark and often grotesque humour). One scene in the cafe sees the bizarre owner described thusly “Wendy looks like a retired dinner lady, who regularly holidays in a timeshare in Chernobyl.”Cruel but also funny and even the cruel nature of the phrase is leavened by more text which again shows empathy for these poor, lost, bizarre characters. And despite the grim situation there’s warmth and love in the relationship of Brick and Morty, Brick supposedly Morty’s carer (and he does help him with his disability to be fair), but often it is Morty looking out for his delusional little chum. Two damaged souls, rejected from the “aspirational” society, living precariously on the edge of a fading town that is itself living on the edge of a damaged country.
And yet they work well together; together, despite all the odds, they get by (just) and there is something heart-warming in the way they look after one another in this dark world. And while he fashions grotesque versions of human beings, Andy also imbues them, especially Brick and Morty, with a lot of emotion, a lot of humanity in those- odd, disturbing, misshapen faces and bodies; it’s wonderful how his art wrings such emotion from the characters and so much empathy from the readers. It’s dark, disturbing, a black parallel of the failed parts of our own society, of towns where the only shops still thriving are pawnshops and the people are downtrodden and yet somehow not quite broken. Damaged, yes, but not entirely broken, still holding on in any way they can, and the strange friendship of Brick and Morty is their way through this crushing world. Both grotesque and yet beautiful, grim but funny, Lucia is utterly engrossing and Andy is a creator to watch out for.
Despite the cold the light was pretty good the other weekend, so I took myself off for one of my “photo walks” in the afternoon and early evening, several hours wandering around, mostly in parts of town I’m not in too often, and taking pics as I go. You never know what you may find – down by the Stockbridge area, outside a barber’s shop, I spotted this amazing bench, made out of old skateboards – art you can use!
While this vintage clothing store and pop-up shop had a nice, slightly surreal (almost Monty Pythonesque) touch with this giant foot outside their door:
Dusk was falling as I started walking back upwards towards the heart of the New Town, passing Cafe Rouge, one of several French cafes and restaurants in the city. The outdoor seats were now all deserted, the temperature falling as night started to settle on a winter’s afternoon, and in contrast the warmth inside against the cold outside had left the windows covered in condensation:
Then I passed this small bar/bistro, and I simply couldn’t resist getting a shot of their neon sign at night:
Just around the corner from Liquor I finally took a picture of an old business on Queen Street I have meant to shoot for years, mostly because the lines of odd statues above it always catch my eye, but I so rarely go past it I forget about it. Since I was walking past and I had the tripod I thought I may as well finally get a shot of it
Then a few moments further up, next to the recently revamped old Assembly Rooms in George Street the lane running between it and the buildings next to it looked rather good at night and seemed to be begging for a black and white shot, so I had to take one (as ever for larger versions click on the pics to see on the Woolamaloo Flickr):
Doing some more night shots recently, was drawn to this buzzing neon sign (surely one of the icons of night-time, big city living), zoomed in on it. And then for some reason felt moved to switch to black and white mode and shoot it in monochrome, even though, like most neon signs, it was a vibrantly coloured piece. But I had a feeling it would look cooler in black and white in a night shot, and actually, I think it does:
Back in the autumn I went to my second home, Edinburgh’s wonderful Filmhouse, to watch a remarkable documentary, Night Will Fall. Actually it’s more a documentary about a documentary – as World War Two faded into its final days in 1945 and the Allies liberated the concentration camps, camera teams were sent in to record and document the hideous atrocities, partly for evidence for the planned war crime trials, partly because even then they knew some people would say it never happened, or it had been exaggerated. The British team had film reels from British, American and Soviet teams and decided to also make a full length documentary film (appropriately, given British cinema in the 20s and 30s was the birthplace of modern documentary film). Sadly for various reasons, some political, the plug was pulled just after the war and the film, which was two thirds complete, was left in limbo, unseen, for decades, despite a script by Richard Crossman (later the famous politician and diarist) and having involvement by Alfred Hitchcock. Seven decades on and Andre Singer has made Night Will Fall, telling the story of this project.
And while I note this as one of the most impressive films I saw in 2014, I must also say it was, quite simply, the hardest film I have ever sat through. I’ve watched every kind of horror film there is over the decades, but this was true horror, the sort it is hard not to turn away from, the sort that makes you spiritually and physically ill. I have never seen an audience leave a cinema in a silence that roared so loud. Obviously given I knew this was about the Holocaust I knew to expect this going in. But you can’t really prepare yourself for it. In one scene we see captured German guards forced to clear up the piles of bodies of the murdered they hadn’t had time to bury or cremate before the Allies reached their camps (the soldiers could smell them long before they saw them, the stench of the dead and of the diseased, weakened survivors, giving lie to German civilians nearby who pretended they didn’t know what was going on). You see them picking the bodies off of piles, hoisting them over their shoulders, the arms and heads loll horribly, like a marionette with the strings cut. This was a person. This obscene thing was once someone’s dad, mum, aunt, sister, brother, son, daughter, reduced to this thing after abject, long suffering… It’s beyond vile. And those are just the remains that can be seen, not including the ones who went up the chimneys from ovens designed for human bodies…
Why the hell did I subject myself to watching something like this, you might ask? A few days before I saw this in the cinema Nigel Farage and his odious Ukip band of bigots made a deal with a far right Polish party. A party whose leader denies the Holocaust (among many other reprehensible beliefs he holds on women and other groups). This was not even for ideological reasons, Farage cosied up to this bastard and his party simply for money-grubbing reasons, to get funding for a group of like-minded parties in the European parliament. I was already considering going to see this, but that decided me – when a British politician is making deals with right wing Holocaust deniers it makes it all the more important more of us see this film, not matter how horribly hard we find it to watch what monsters in a human skin can do to others. Because we need to be reminded where their kind of bigotry leads to – first of all it is treat them different because they are ‘different’ from us, so it becomes acceptable to talk about them like that in public, in the media. Then demand legislation to legally differentiate their rights from other citizens. And then what? Smashed windows? A new crystal nacht? Then it is okay to treat them any way you want, remove them from society, put them in camps… We have been down this road. We know that small starts like that sort of xenophobic bigotry can lead to the most awful acts imaginable.
The documentary makes the point that this happened in a civilised, educated, Western society in the heart of Europe, and given the right manipulation of people’s opinions this could happen anywhere, again. And right now every country sees a rise in these right wing movements attacking immigrants, multi-culturalism, the place of women, gays, anyone who they think is ‘different’. And there is Farage, his “cheeky chappy with pint and ciggie” mask revealed for what it is, an odious little creature who happily makes deals with a party of Holocaust deniers, for which there can be no forgiveness (and why has this not been more widely debated in the media?? How can any UK politician get away with doing that in this day and age??). There is an old adage about dreadful events which we, as individuals are powerless to prevent – but if we cannot stop it (and obviously we cannot stop an even that happened decades ago) we can still bear witness. We bear witness so that it will be remembered and not allowed to happen again. And so I watched Night Will Fall, all the way through, hard as it was. On January 24th, as part of Holocaust Memorial Day, Channel 4 will be screening the film on British television. It is difficult to watch, I know, but please try. And Farage, perhaps you should watch this then explain to the entire British electorate why you are making friends with scum like your Polish Holocaust denying party chums.
It’s dreadful – kids ask and ask for them, can we get one, mum and dad, can we, can we? I’ll look after him! Then a few days later, bored, they discard the poor thing and it ends up abandoned on the cold, winter streets. A Minion is for life, people, not just for Christmas, stop the dumping of poor, unloved Minions on our streets!
“Possibly the most moving piece is the final one of the book, Joe Gordon’s impassioned prose ‘Memorial to the Mothers‘ illustrated by Kate Charlesworth. A simple reminder that for every male name we see on a war memorial there was at least one other wounded person, the mothers and wives who bore the terrible brunt of the criminal throwing away of their loved ones’ lives. Apart from this there was nothing in the volume that quite reached the heights of Mills and Colquhoun’s Charley’s War, or Jacques Tardi’s It was the War of the Trenches for me.”
Eamonn Clarke writing about World War One comics anthology To End All Wars in Everything Comes Back to 2000 AD, and, in the above quote, more specifically on my own story in that collection, edited by Jonathan Clode and Brick. I’ve fiddled with stories pretty much all my life, on and off, but after we lost my mum so suddenly several years ago I lost any urge to write narratives. I was still writing professionally with articles, interviews and reviews, but the spark that made me want to write stories, even if they never went anywhere other than my own blog, had gone out. Two years ago Brick asked me if I would put out a call on the Forbidden Planet Blog that they were looking for writers and artists to submit stories for consideration for a charity anthology they were compiling, as an antidote to some of the bollocks we all knew we would be said in relation to the centenary of the start of the Great War. During this Brick saw one of my many photos I snap around town, this one of an unusual war grave, just moments from my flat in Edinburgh, a father and son, father fallen in the War to End All Wars, his lad in the world war that followed it…
Brick commented there was a story behind that and maybe I should try my hand at submitting something for consideration myself. At first all that sprang to mind were fairly cliched stories, and I wasn’t interested in that. I wanted something different and above all I wanted emotion. If I couldn’t make at least some of the readers feel chocked up reading it then I wasn’t inteersting in writing it. What good is a story that doesn’t evoke an emotional response? All art should create emotion. And given I was using real people and their loss as inspiration, it had to evoke emotion or it simply wouldn’t be right. An idea came to me, that apart from the father and son there was another name that should be on there, as much a casualty as any soldier: the wife and mother. Her husband then her boy taken from her by this insatiable beast of War that even supposedly “civilised” nations consider an adequate way to conduct themselves. And from that, by extension, every war memorial in the world with their engraved names also should have behind them the names of the mothers of the fallen.
And there was my emotional ‘in’ to the story. I started writing, for the first time since we lost mum I started writing a story and I think I poured my own sense of loss and grief into it. But to be honest I wasn’t sure if it would mean much to anyone other than me, but Brick and Jonathan liked the emotion in it (in fact among their editorial notes they said don’t hold back, pour it all in, so I did). The collection was published this summer by Indy comics folks Soaring Penguin Press, with £2 from each sale going to Medecins Sans Frontieres, the medical charity (currently dealing with victims of war zones and Ebola, so let’s face it, they need every pound they can get) and I have been pleased at its reception. Also as someone who has been involved with the Edinburgh International Book Festival for years it was pleasing to be there chairing talks and see, for the first time, a book I had a part in being on sale in their bookstore. And I loved the art my partner in crime Kate Charlesworth came up with for the story (Kate also did the art for one of my favourite books of 2014 with Mary and Bryan Talbot, Sally Heathcote, Suffragette). Have seen some nice mentions for the collection but have to say I’m pretty damned happy at Eamonn’s comments on mine and Kate’s piece in the collection. It’s not why we do these things, but it’s still pretty nice to see we reached someone. Several moths ago Pat Mills commented to me that he enjoyed the emotional depth of the story, and since I have been reading Pat’s stories since I was a kid that pretty much made my week, and now seeing it compared to the emotional impact of Pat’s astonishing Charley’s War and Tardi (another of my comics gods) and his WWI stories is pretty damned pleasing.