Bedknobs And Broomsticks

The memories of childhood are strong. Numerous fixed points remain in memory from that timehowever many years ago.

One such fixed point niggled with me recently, and strangely became clear for the first time.

It feels as if I have known the film bed knobs and broomsticks for the whole of my life, but it was only recently that I actually saw the film for the first time.

Since then, I have watched it three or four times, amazed at having missed it.

But equally amazed, by the extent to which I have so thoroughly enjoyed it.

It seems extraordinary that I should not have seen it before, but then perhaps it is the case that having seen it now, I am able to articulate to myself just exactly why I have enjoyed it so much.

Though it is ostensibly a children’s film, like so much that is of quality written for children it has themes that are both complex and adult.

Adult only in the sense that they are serious and important, particularly in respect of appreciating the shared history of all of us.

At another level, the film is important in the genealogy of film, in that it is one of a small number of films that combine live action with animation.

That it includes David Tomlinson only a few years after his appearance in Mary Poppins is significant, and provides a link between these two films.

But the primary material for the film is British history, most immediately the story of the struggle against Germany, which resulted in so many children being evacuated from the cities.

That three children should find themselves in the house of a witch is the starting point for an adventure, but in the course of the adventure, it is a story of love, and Angela Lansbury discovers that she does have a place in her heart for children after all.

Behind the simplicity of the witchcraft theme, there is another historical theme, that cannot be viewed purely in the context of the 20th-century.

That a raiding party of Germans is beaten back by the magical animation of old weapons and armour is on the one hand a safe and hilarious application of magic, but on the other links with a much deeper strand of belief in the importance of what England stands for.

I cannot help but think that the defeat of the Armada,when the Spanish raised a fleet to invade England and was beaten back by a wind which was said to have been raised by witches.

It is fascinating to see the way in which this simple story possesses a poetic grandeur, whilst telling a simple adventure story such as might come from the hearts of any child.

 I have been amazed that I did not see this film when I was my self a child, but strangely pleased to have seen it even now.

I was surprised to have recognised one of the bit part actors as Bruce Forsyth, is playing the role of Swinburn, the switchblade wielding crook working for the book man.

This was long before he had become established in our culture.

Language Games

I am 54 years of age, and I was diagnosed with multiple sclerosis at the age of 40.

And so for the last 14 years, I have lived with this condition, which let’s face it is not the worst kind of neurological condition. There are many conditions which are far more devastating than MS, not least of all motor neurone disease (MND).

MS can be extremely aggressive, but in my case has been mildly progressive, and though it has taken from me my ability to function as I might have taken for granted I have at least retained my capacity for language, and thought.

This at least his given me the capacity to continue with what has for me always been an important aspect to my life.

Although I have published numerous poems, I have never been able to sell a short story, and although I have self published my own book of short stories, as well as a couple of volumes of my own poetry, I have never even approached a publisher with a view to being taken seriously as a writer.

This does not mean that I have given up with this dream of mine.

Since I am able to use voice-activated software to type more effectively than I ever could, and have written three novels to date, although to be honest none of them are entirely finished.

Perhaps this final step is one that I am overly cautious about, because I might feel obliged to self publish a finished novel. And perhaps I am happier having written three incomplete novels, rather than the three novels that I could submit to knows that Express a professional opinion about.

But language remains something important to me.

Although when I went to university and, as the combination of my education, I studied for a degree in philosophy, sometimes regretting with hindsight that I did not have the perseverance for a degree in English literature.

But playing with language is something that is close to my heart, whether in my continued writing or as a matter of course in my daily life.

For example, with the staff of people that are responsible for my daily care and support.

Perhaps I am fortunate that in today’s UK social care I am able to benefit from a new way in which people are cared for, so that instead of simply receiving support From an agency with whom my relationship is simply that of a client with needs to be met, I have been enabled to employ my own staff directly, went to afford to exercise choice over whom those people are.

Since the people that care for me are my most important social contact these days, this is a sensible development.

Hopefully, my carers gain as much enjoyment from working in this different environment to alternatives that would have been current before this scheme called self directed support.

I suppose I am fortunate to have had some experience of previously having taken responsibility for employees, owing to the nature of my work before I was diagnosed with MS.

A not for profit organisation has been appointed locally to support people like myself with things like accounting for tax and the other responsibilities that come with employment.

And so local authorities are able to operate without the need to make the kind of day-to-day decisions for me that they would if I were only to be a client of theirs.

Perhaps this since of self determination does in fact give me a greater sense of control over my own life, and I do maintain a strong sense of positivity overall.

And we all have a strong sense of humour, finding things to laugh at more than things to be sad about.

As I said, the nature of my illness is fortunately not as aggressive as it might be.

And I have never given up hope that one day if not a cure can be found then at least a means of ensuring that MS does not become aggressive might be identified.

And in the meantime, thanks to the system that we have in the United Kingdom, of a health service that is free at the point of use.

At least I can feel that I am able to live with some dignity within the boundaries of what I can still achieve.

A Nation Respects

It was 50 years ago today that Winston Churchill was given a state funeral.

Like so many people, I have watched and been moved by the BBC documentary that recaptured this event, even speaking to many of the people that took part in some way and yet remain alive to speak of this important moment of national mourning.

I am shocked by the news that a recent survey of British students revealed that they had almost no knowledge about this man.

The most telling thing was that most students associated Churchill with the bulldog that has been the advertising device of an insurance company.

It is unfortunate that I was not one of those people surveyed about their knowledge of who this man was.

But of course, I am in my early 50s, and perhaps an unusual interest in such history, because my parents were of that generation that lived through the war and that Britain fought, at first alone, although always with the critical resources of the then British Empire to draw upon.

My father died in 1998, many years ago now, but my mother remains alive at the grand age of 95.

This I suppose I have had a direct connection to that struggle and to the way in which it has affected the lives of the generation that lived through it.

My father was a dock worker, commencing work within the Port of London authority when he was little more than 14 years of age.

As a dock worker, he had very particular reasons to perhaps mistrust Churchill, but in my father’s case I never heard this view expressed.

On the contrary, though a reserved occupation during the war, he and several others that were colleagues working in the docks, joined up as soon as war was declared, and in his case, he spent the next nine years in the forces, finally being mobilised from Palestine in 1948.

He and my mother had only married in 1938, no doubt because of the crisis that he would have laid down his life for.

The way my father told it to me was that by so doing, rather than waiting for conscription to call upon men like him, he was able to have more choice about how he could serve.

As a consequence of which, he served in the Royal Engineers, remaining throughout his service a private, and although briefly promoted to lance corporal, he was a private when demobilised.

I never did quite understand the reasons behind this, but besides a small number of simple stories he spoke little about his experiences.

It must have been hard for both of them to have spent the first 10 years of marriage separated because of the war, and there is no doubt that his experiences were behind his lifelong passion for pigeon racing, a solitary hobby that he shared with so many men that had served as he had.

Living within easy reach of the docks in which he worked, at the heart of East London, my mother was perhaps fortunate to have been engaged in war work which took her away from the constant bombing of that part of London.

At one stage she worked in an armaments factory somewhere in the Home Counties, and later moved to Lancashire where close to Blackpool she worked as a lathe operator.

He spoke of many different theatres of war, particularly of the desert war against Rommel.

He was at Tobruk, and rather than becoming involved in the D-Day invasion, he was part of the second and lesser known invasion through Italy that was part of the pincer movement to trap the axis powers through a second front.

I could not fail to become interested in the history of this struggle because of my parents part in it, and when I was quite young, I remember reading his doctors account of Churchill’s last years.

There is another reason why I have an interest in this moment of history, so much talked about, and so important to the national consciousness.

My father was one of 12 brothers and sisters, brought up in the east end of London to a typical working-class family.

One of his sisters married a man who was up until Churchill’s funeral in receipt of a small pension.

The family story does not go into too much detail, but apparently this arose from an indiscretion on the part of a member of the Marlborough family with someone that was in service at Blenheim Palace.

This particular branch of my family lived somewhere in Wiltshire, and were the only part of the family to have been able to make something of their lives, perhaps with the assistance of this pension.

With so many people in service in Britain during the 19th and 20th centuries, I am sure that there are numerous families that have some similar story somewhere in their ancestry.

But it is something that today’s anniversary reminds me of, and doubly so as I watched the way the cranes dipped to honour the passing of his funeral barge along the Thames.

Literary Lodestones

You do not forget the good books that you discover.

Especially if they lead you to poignant emotional moments, and this has been a surprising recent discovery for me, and though until recently I had thought that my literary adventures were over, since I cannot even hold a book nor turn its pages, audio books have had a sudden resurgence thanks to such initiatives as Audible.

I had not even heard of the author of the two books that have recently had such an impact on me.

It is worth me describing briefly how I happened to suddenly discover the first, and thence discover the other.

I find the problem of choosing what to read as much of a difficulty as I ever did.

I was always an avid reader, and when I think back, so many of the good books that I have discovered have come to me almost by accident.

Perhaps this was a semi-conscious decision, when as a very young boy, I realized that it would be impossible for me to read every book in a big library.

And so I prepared myself to discover books by some form of serendipity.

On this occasion, I had quite  simply  chosen to read Max Hastings history of bomber command during the Second World War.

I didn’t expect this overview to be without its controversy, but at least I was partially aware of that controversy. Perhaps it was time that I discovered more.

Even before I settled down to listen to this weighty tome, I chose in addition the first of the two books by Elizabeth Wein that are the principal subject of this article.

The reasoning for this is similarly accidental, in that I was attracted by its title. Code Name Verity.

This suggested some connection with the Second World War, and with a part of it that is of interest to me because it is a component of an extended piece of writing that I have begun. Perhaps, I thought, this might shed some light by way of research on what I am trying to achieve.

And so I did not begin to read Code Name Verity at once, but only after I had completed Max Hastings fascinating book.

I have always found books that involve flight fascinating. I can immediately think of The Little Prince, and Jonathan Livingston Seagull.

The author of Code Name Verity is a pilot herself, and the heroine of the book is a pilot too.

Being set as it is, the protagonist of the story becomes a member of the air transport authority, the only way perhaps that a woman would be able to fly in wartime Britain.

This would almost be sufficient in itself, but an extraordinary tale unfolds when she is introduced to special operations, that secret world of moving people and resources so that they can play an important part in a lesser known aspect of that total war.

I’m not going to explain much of the story as it unfolds, because that should be for an interested reader to discover.

Sufficient to say that having accidentally discovered this book, and being thereby introduced to Rose On Fire as another work by the same author, I have at last come to the work that has so affected me.

Although they are quite distinct works and could be read separately, having read them in the order that I did was important.

In other words, characters appear in both of these books, and there is an important sense of development between them.

The plot of this second book is quite exceptional, and incredibly well handled.

Once again, I won’t go into details, other than to explain that the title character, Rose Justice, is also an air transport pilot, this time American.

Through a carefully balanced plot, she finds herself over France, after the liberation of Paris, and before the end of the war.

She ends up being brought down by two German fighter planes, whilst flying a Spitfire, and of course because it is a transport plane, it is not armed.

She is forced to land at a German airfield, and becomes a captive. As a consequence of which, because she is a woman and a suspected agent, she spends six months in a concentration camp.

She survives, and in giving the authors own background as to how the book came to be written, it is clear that it came about as a consequence of writers workshops which took place at the location of the camp, almost a generation later.

In other words, it is a well researched fictional story, but with an extraordinary connection with the modern day location of that terrible place.

The story is told after she has escaped from the camp with a small group of survivors, and culminates with the end of the war and by no means resolves all of the questions concerning the future of important characters.

But it is a story that in its telling reiterates the importance of its telling, so that we can never forget.

It is rare that I have found a book to be quite so emotionally compelling, and for that reason, it must be recommended.

It isn’t an easy book to read at times, and perhaps that is the mark of a great work.

Certainly a book that for me has been transformative.

Deep Inside Popular Culture

There can be hidden depths sometimes to popular culture.

One of the strangest that comes to mind is something that may be vaguely apparent to many people, as it relates to one of the most popular films from the past 30 years.

Apocalypse Now is a strange film in parts, about the desire for the military administration to put an end to a rogue Cololel who ‘has gone native’ somewhere in Vietnam.

The soldier sent to fulfill the mission of the government eventually locates Kurt where he has set himself up as some kind of reclusive deity.

It is a film full of strangeness, and perhaps nothing is stranger than the talk between the Hunter and the Hunted in the darkness of
 the cave at the end of the film where Kurt very much makes a willing sacrifice of himself, and makes it clear that he has been expecting this confrontation.

Anyone that is particularly interested in cinematic imagery may be aware that the camera pans across some of the books in his library at the very end, as if to give an insight into the extraordinary thinking of this extraordinary man.

One of the books that appears only in one or two frames as the camera moves through the cave is James Frazer’s  extraordinary anthropological work, ‘The Golden Bough’ which is as its title proudly announces a treatise on magic and religion, and it remains today one of the most important works on the anthropology of ancient man.

The second book that is also clearly visible if you take the trouble to look frame by frame is a little known work that will be unfamiliar to most people entitled ‘From Ritual to Romance’, by Jessie L. Weston. One of the reasons why this book has been so little read is that it is an academic work that is hard work, and not for the fainthearted.

I have taken the time to read it, and it is fascinating. It looks at the Arthurian legends and relates them to the previously existing pagan legends as far back as Babylonian vegetation myths.

In other words, as it was written in about 1920 it is not so different in subject matter to the content of Frazer’s work.

Both books together, along with other works such as the Bible, shed interesting light on the nature of what might be uppermost in the mind of the soldier that has gone native.

Few films have so entered into a sense of the culture of the 20th century as this extraordinary work, and I think it is worth making some exploration of those depths to which it seeks to explore.

10 Pieces of my Life

Rarely do I see something programmed on the BBC that mirrors closely the working environment that I occupied until I stopped working around 2003.

Up until this point, I had worked in a number of ways that introduced people to unfamiliar art-forms.

Principally, I worked closely within large arts organisations receiving considerable sums from the Arts Council of England.

Perhaps it is quite natural that the investment of significant sums of public money in such ways should be accompanied by the proviso that these organisations should offer an education opportunity so that the widest possible audience should have the opportunity to appreciate the activity offered.

Thus at the age of around 25 I began working within the education department of Opera North based in Leeds, one of only a handful of professional opera companies in the United Kingdom.

Opera North was established as an independent offshoot of English National Opera, to enable Opera of the highest professional quality to tour principally the North of England, occasionally reaching further afield such as to Scotland and even overseas.

For example, in the time that I was working for the company a production of Attila by Giuseppe Verdi was taken to Rotterdam, helping to establish the international reputation of the company which had already achieved a significant National reputation for both its reach across the North of England, as well as a reputation for high quality education opportunities that enabled people unfamiliar with this art-form to attend performances and explore in more detail exactly what Opera is all about.

When I began working for the organisation, I had very limited experience myself of opera, but my work gave me the opportunity to see numerous opera performances as part of the company’s output.

With its base in Leeds at the Grand Theatre, where rehearsals and opening performances took place, the company travelled regularly to Manchester, Hull, Nottingham, and other occasional venues and festivals across England.

Whilst I am not musically trained, not even with an aptitude for music, I found myself working in the creative environment of the education department of an opera company, thanks I suppose to an interest I have always held concerning the empowerment of people.

Whilst this may sound rather strange, I can look back at my entire working life and see that this strand of empowerment has been critical in every aspect of every employment I have undertaken.

For the first 10 years of my working life, I became involved first with housing co-operatives, and then perhaps as a natural progression, with workers co-operatives.

In other words, I have often worked in ways that treat people as equals, and in some respects, the same can be said of creativity.

It is something that people of all ages and backgrounds and indeed capacity can participate in, and in many respects, the fact that I first worked in a department associated with an opera company is simply representative of the fact that I lived in a small northern town that was lucky enough to possess a large opera company.

When this was established in the late 1980s, originally as a linked and strategic component of English National Opera, somebody somewhere must have made the assumption that developing such a large creative organisation would have a transformation and regeneration impact on this city.

Opera North’s orchestra also has its own identity as a symphony orchestra, providing a regular season of concerts at the local town hall.

You cannot have 60 or 70 professional musicians and all of the ancillary staff associated with an opera company and not have an impact on its local economy.

Opera North also had a regular full-time chorus of over 50 people, occasionally swelling to larger numbers when particular repertoire was performed.

Although I began as a novice in my own right, I quickly benefited from the opportunity to be able to see as much opera as the company produced.

Opera is typically produced in small seasons consisting of between three and four different operas, for the sensible reason that professional opera singers are not able to sing every night of the week, and therefore different operas are performed each night of a season so that the principal singers can arrest their voices in between performances.

So in the course of a year it is likely that a company will produce and tour about a dozen different operas.

In each season, there will be a couple of fairly popular operas, which may have two performances each, and one less common opera, which may only be performed one night each week.

Touring Opera is a logistical exercise, often involving two or three enormous juggernauts, which contain all of the sets and costumes for each opera, as well as all of the technical equipment required to light each work, as well as any ancillary equipment such as for enabling performances to have surtitles or subtitles on stage.

Something that I quickly discovered as part of my initial involvement in the work of the company was that I cannot hear classical music of the kind that is performed by the professional orchestras involved with professional opera without appreciating it in perhaps a rather unique way.

Opera is of course made up from an extraordinary combination of story, music, and staging.

It thus involves every imaginable art form from the written word, through the visual arts concerned with staging and costumes, as well as music.

My experience of the kind of music played by a professional orchestra is where I have drawn my parallel with the recent BBC programme entitled 10 pieces.

This took an unusual approach in its attempt at making classical music more accessible to young people in particular, by showing the music of several well-known works performed both live by the orchestra in a studio context, but with specially commissioned film material designed to encourage those unfamiliar with classical music to see it as a form of storytelling.

We will all be familiar with this as a technique, whether we consciously realise it or not.

The classic example of this kind of ways to familiarise people with classical music was used by Walt Disney in his Fantasia.

What I find fascinating is my own particular experience of classical music, and the way in which it seems to speak to me as if I am unable to hear the music without seeing some kind of story.

Synaesthesia, the way in which our brains can experience sensory stimulus that results in additional perceptions, is not as unusual as you might think.

My best friend, for example, associates various words in the form of colours, so that for each of the days of the week, she associates a different colour.

Perhaps other people may have their own experience of synaesthesia, in my own case, one of my strongest interests lies with creative writing, and so it is perhaps not unusual that I should experience the kind of narrative that I have suggested when listening to classical music.

This has served me particularly well in the context of for example introducing the instruments of the orchestra to primary school children, as it is a very familiar exercise to simply play a piece of music to a small audience and discuss the feelings generated from it. This is a good starting point for looking at the way in which something like opera tells a story with many different emotional colours that have been portrayed by the composer in their use of the instruments available to them.

I have been very fortunate to have met and worked with some extraordinarily creative people and I have been privileged to be able to introduce their abilities to a wide variety of people, young and old, as diverse as inmates in prison to people with learning disabilities, all in the name of the art form education that has been the focus of my work.

It is perhaps no surprise that I have been inspired by the people that I have worked with to explore my own creativity later in life, especially now that I have so much more time than most, as a consequence of my disability with multiple sclerosis.

But it was nevertheless remarkable to see such a specific exploration of what I have spent my life exploring in that BBC programme, 10 pieces.

Rarely Seen or Praised

It is so easy to forget how fortunate I am. I was diagnosed with multiple sclerosis over 10 years ago now, and although I am severely disabled and limited physically in what I can still undertake, there are so many things that I have the time to appreciate.

Time is that most valuable of commodities, which few of us can appreciate unless we have the opportunity to pause in the muddle of our modern lives.

Of course I would not have wished to have my life prevented from achieving its full flowering, but I have had to remind myself that there are worse things.

At least the condition that I live with is no more fatal than everything else that we live with.

And since I live in the United Kingdom I am able to benefit from the fact of a system that protects and preserves those that cannot undertake those things that most of us take for granted.

The apartment in which I live has been made more extensible for my use as a wheelchair user thanks to alterations undertaken under the terms of a special grant, converting my bathroom to a shower room, and giving me a ramped access from the rear entrance.

A superior kind of ceiling hoist enables me to be transferred to and from my electric wheelchair, and I have a team of carers that ensure that I am well looked after.

The bed which I spend considerable time, but not so much that I consider myself to be bedridden, has been installed and is serviced by a special department operated by my local county council.

Recently, the handset that controls the movements of the bed had to be replaced, and the replacement handset has the additional buttons that enables the full function of this extraordinary item to be fully used.

My previous handset only had four pairs of buttons to raise the head, the bed itself, and what is called the leg break.

But the new controls enable the top and the bottom of this electric bed to be raised and lowered independently, a function that glorious in the unusual name of the Trendellenberg  effect, something that will be unfamiliar to most people.

Quite simply, it enables the bed to be raised or lowered so that the person in the bed slips in either direction.

More information about this can be discovered online.

With such an important piece of equipment, it is essential that it is properly maintained, and recently I had cause to discover that an engineer is available 24 hours a day, seven days a week, in the event of problems occurring that disable search an essential piece of equipment.

I had cause to request that the engineer assist as part of the power supply had become disconnected, and although a backup battery ensures that the equipment will operate on an emergency basis for a fuel hours, the engineer arrived within a few hours to reconnect and have the bed working once again.

Few people have reason to know that such a service operates, and it is one of those hidden benefits of the system that of course we pay for through our taxes. And it is only when we need such services that we fully appreciate their existence.