No swim for Yule, for the first time in years, and no swim on Christmas morning or the days either side — I’ve got the virus that seems to be flattening people’s festivities, and I go to bed on the 20th shivering and aching, and barely get up until Christmas Eve. In some ways it’s sad — my body feels so pathetically mortal and I am never a patient patient, I want to feel better now — but in others it’s wonderful: the housemates bring me Lemsip and cut-up-apple, and all I can do is cough out a few vague directions and release all other plans from my grasp. We make Christmas dinner together, although mostly it involves me lying on a fainting couch and making weak suggestions, and I occasionally put on outdoor shoes to shuffle around the streets, including an early morning walk on the 25th where other early backlit silhouettes wish us a Merry Christmas, until I’m too feeble to continue, and we limp home. A few days later and I walk further, and see the path that’s been completed along the river bank. Workers have been there for a month or two now, and what was a central bank between lake and river, dusty in the summer, full of wasps and kingfishers, and muddy in the winter, ice-pocketed and guarded by hissing swans, has been concreted over in a wide, flat path. I hate it. I hate it. There are parallel paths either side of the lake and river that allow access and smooth walks to those who need it — this was another brief moment of nature that someone decided was too natural and needed destroying. Combined with the news that Universal have bought up nearly 500 acres of land nearby, full of river, fields, hedgerows and trees, with the intent of turning it into a UK park and resort, I want to give up. I hate it. I don’t think ‘a significant positive economic impact’ undoes the destruction of our planet. I don’t think there’s any possible way that an enormous multinational theme park with hundreds of thousands of visitors a year could cause anything other that massive environmental damage.

I think: 2024 will be the year I give up hope. It is so hard, it is so endless, it is so pointless and thankless and exhausting, and it feels clear that maybe it’s just more sensible to give up on hope. Friends and family have died this year; others have moved away, or plan to next year; there is depletion, there is disappointment, there is parting after parting after parting. Love sometimes just feels like a preparation for more loss. Culture is dumb, and getting dumber; intellectualism is a piñata to be beaten by the Extremely Online until the correct phrases fall out and the intellectual stops existing in any meaningful way; no one meaningful seems to care about the climate catastrophe; democracy is collapsing; more war, more division, more fear. 

But the frustrating truth of course is that hopelessness is even harder than hope. Existing in hope may be exhausting. It is bloody, it is muscular and effortful, it requires seeing the best of people even when they don’t display it, it means loving people when they don’t want our love and believing with gritted teeth in the joys we can share, in clever thinking, in engaged discussion, in growth and development, in change and forgiveness. Hope is this dumb semi-accidental tumblr poem that captures the sheer stubbornness you have to develop to keep hope alive. I’ve done hopelessness and it’s awful, crushing and enfeebling and dull beyond words. It’s not smart to be hopeless: it’s boring, and I don't want it. Death is inevitable, but there's still time. Anyway! Here are my highlights from 2023. 

SKETCHES: 

Much as I don’t want to exist in a youtube bubble — listen to albums, not singles! — sometimes a single sketch says everything you need to. Mostly old, but all brilliant, this year we've enjoyed multiple rewatches of Key & Peele’s Text Confusion sketch, Armstrong & Miller’s physics expert, Mitchell & Webb’s ever-apt Baddies, and not a sketch, but Dave’s explanation of the financial crash in Happy Endings has made ‘let me back up’ an ever-present phrase in most household anecdotes. From what Dan McCoy calls ‘the worst show I’ve watched every episode of’, we regularly review Papyrus, Amazon Echo Silver, Dear Sister, Christmas Morning, Amazon Go, Enhancement Drug, and Traffic Altercation; almost any Weekend Update segment with Michael Longfellow, Andrew Dismukes or Marcello Hernández, or any sketch with Bowen Yang; most Please Don’t Destroy sketches, not least Three Sad Virgins, Ramen Order, Wellness, and Self Defense. Going mostly cold-turkey on Inside and Bo Burnham generally means that while I have regained some sanity, it gives the housemates fewer opportunities to sing The Chicken, which is a stone-cold ballad banger. 

TV: 

TV-wise, we’ve been spoiled by the final series of Succession, a masterpiece examination of corruption, the American Dream, and family trauma. Loved it. In the most opposite possible way, I rewatched Damon Lindelof’s Watchmen, also a masterpiece examination of corruption, the American Dream, and family trauma, but with extra mini-squid, cloned servants, masked police, and President Robert Redford. Although it’s four years old now, I’m sure there are still people who haven’t seen it — please do, really. There are no weak links in the entire thing, it’s imaginative and sharp as a razor, taking the original comic and lifting it to a searing present-day examination of white supremacy and racial exploitation, power and technology. 

I also rewatched both Community and Happy Endings, this time with the housemates, and I’m so glad that they now say baggle, rooof stoooof, and Max’s ‘Here we go!’. I’m also into my fourth rewatch of Mythic Quest, the Pandemic episode of which might go into my memorial time capsule for the way it captured both the best and worst moments of Covid lockdown.  For new television, I loved Extraordinary, a British and female-led look at the superhero genre; The Greatest Show Never Made, a moving, hilarious, and enraging documentary about very early reality TV and the bonds we can make when we come together; Why Didn’t They Ask Evans?, an Agatha Christie adaptation that appreciates we don’t necessarily want our escapist Golden Age plots filmed like Fincher’s Zodiac, and Gregg Wallace: The British Miracle Meat, a Swiftian satire that we collectively watched four times in twelve hours. That’s gravy, baby. 

In films, I’ve had a mostly duff year at the cinema bar three highlights: Past Lives, with the luminously beautiful Greta Lee and Teo Yoo, John Wick 4, an extreme action flick I absolutely should not even have liked but which gave me a bubble of joy in my chest that still hasn’t subsided, nine months on, and best of all, Bottoms, a film which should be available on prescription. You know when you love someone, then share some art with them and they love it just as much as you do? It might be the best feeling in the world, and certainly made me ask how different my life might have been had I been taken to see a lesbian high school fight club comedy by authority figures when I was a teen. It’s so weird, and uncomfortable, and over the top, and the time period isn’t clear, and the humour is grotesque. It’s also the most female-gaze-y film I think I’ve ever seen, and takes the idea of ‘female existence as a horror film’ — my constant theory — and shows how we can make all the real horrors of a girl’s existence — abuse, stalking, exploitation, the threat of male violence, a porn-drenched culture, the patriarchy — and turn it into a joyful, vivid, sexy, howl-from-the-sunroof-of-a-speeding-car celebration of girls and women in union. Fuck, it’s so great. 

At home, we’ve had a glut of horror joys thanks to my pal Tom Humberstone’s Grave Offerings, a daily newsletter sent throughout October that has got one housemate fully into the delights of a good horror film. Besides The Innocents, Alien, A Quiet Place, and the staggeringly underrated Pontypool, we also took in Duel, which I hadn’t seen since watching it with my father when I was a youngish child. Like almost everything you leave untouched for thirty years, it was completely different to how I remembered it, and I watched it now as a brilliant essay on the traumas of David Mann’s time in Vietnam. Tom’s essay on Duel in particular is fantastic, and will change forever how you see a ‘shark film’. 

More fuel to my ‘female existence as a horror film’ theory were Happening, Petite Maman, Mustang, and Spencer. I was put off Spencer for a long time since I’ve never had any interest in Diana or her marriage, but this film was more like The Others than The Crown, and has a haunting lushness that stayed with me. Mustang continues to be among my favourite films of the twenty-first century, and I genuinely believe it should be compulsory viewing in schools.  The counters to my theory seem to be films with a tipping-point of women; Little Women, Steel Magnolias, Fried Green Tomatoes. We watched the latter at the start of the year, and for all its flaws I’m still struggling to stop saying, ‘You ain’t nothing but a bee charmer, Idgie Threadgoode.’ 

In books, January saw me reading the second of Tim Key’s lockdown books, Here We Go Round the Mulberry Bush. The first was hilarious and crushing, reminding me of the weirdness and loneliness of the first lockdown; this second work made me cry again, for the desperate hopefulness of beginning to reconnect with loved ones, with strangers, with life. Do you remember how special we found going to a coffee shop again? 

I’d forgotten how foolproof Nick Hornby’s recommendations in the Believer are,  and so finally got round to reading Tomorrow and Tomorrow and Tomorrow when I saw he'd praised it, having pooh-poohed it myself due to its massive success. I read it in less than twenty-four hours and didn’t stop sobbing for at least that long, pressing it into several people’s hands until they agreed to read it too, if I’d stop hiccupping at them. If I’ve read it, I’m certain you have by now. 

I managed only a few children’s books this year — my favourite by far was When You Reach Me, pressed into my hands by a housemate with the same fever I’d passed on Tomorrow and Tomorrow and Tomorrow. I don’t know how famous it is, but without spoiling anything it’s a wonderful primer for budding fans of early-Christopher Nolan (of which I’m sure there are tonnes). 

I’d read a phonebook if David Sedaris wrote it, so I was delighted to have his first volume of diaries to go back to in the winter months; at the other end of the year I read another sharp-eyed look at human connection, in the form of A Glass of Blessings. What would I do without Pym and Sedaris, I wonder? Finally, I got Elton John’s memoir, Me, for Christmas and finished it pronto. He’s rather wonderfully both a total nightmare and the most generous, self-aware, loving, creative, and amusing character I’ve enjoyed for a long time. Like all good music books, I want to go back and hear his entire back catalogue from the very beginning. 

When it comes to food and drink, I’m discovering the delights of non-alcoholic gin and negronis. I haven’t really drunk alcohol for years, but I do miss that grown-up taste of something sour and special. I recently rediscovered how easy moules marinière are, and if I can afford the shelled delights through the winter I may make it again for Imbolc. 

All of us will die, but we can do plenty of good things in the meantime. I wish you a 2024 full of good health, good fortune, and wonderful coming togethers. 

An early dip for the Mabon equinox, so headtorches are dug out and white-light the wires of cobweb that we normally brush unconsciously from our faces as we run. Stars too: we haven’t seen them while swimming for half a year. The swans are too sleepy at this time to put up their usual Jets v Sharks pugnacity, and just paddle softly out of our way. The water is still and velvety; we dress in dim dawn and I run home for pancakes. 

Time to find balance again. The windows clatter in their frames as the autumn wind starts up, and I’m trying to hoard enough handicrafts and uplifting media to keep me going though the darkening evenings. The usual SAD was working overtime at the start of this year for a good few months (I wasn’t even well enough to do my annual Mad Men binge-watch), so I’m trying to do all those boring things that actually make us feel better: knitting and jigsaws, short but brilliant books, as little processed sugar as I can manage, decent sleep patterns. Is it worse when those things work, or when they don’t?

I’ve wondered here before about the loss we’ve self-inflicted by sprinting away from organised religion. Of course it makes sense, when you look at the wider picture — (particularly Western) religions have caused indescribable amounts of bloodshed, destruction and suffering. And yet! What have we lost, in our hurry to show how clever we are to not fall for dogma, mantras, herd mentality, cults, and arbitrary nonsense of in-people and out-people? We’ve certainly lost group singing and group rituals, two hulking great parts of social union that crop up in every single civilisation, two things that offer comfort and structure, joy and togetherness. But! At least in our current hyper-individualist society we’ve freed ourselves from dogma, mantras, herd mentality, cults, and arbitrary nonsense of in-people and out-people, right? PHEW. I mean: PHEW. P H E W. In totally unrelated thoughts, remember that brief window in modern times when men didn’t have an excuse to publicly hate and berate women when we asked for dignity, safety, and equality, when a sizeable swathe didn’t casually drop slurs into conversation with the safe knowledge that surely no sensible, decent woman would disagree with him? Remember that? No, me neither. 

Great things: This article from the Drift on Jack Antonoff is so, so excellent. Thoughtful, intelligent, informed and with a clear argument, it’s exactly what I want to read but so often find myself reading Twitter-rants disguised as legitimate articles instead. This: “If there were a producer who fully belonged to this moment, he would need to be something like a non-brand brand, paradoxically recognizable for his ability to produce stylishly forgettable content… Ubiquitous and ignorable, critically acclaimed and terminally unhip, memeable but unshakably serious, such a figure would fully express the essence of a seemingly essenceless moment.” And this: “Get too close to Antonoff, and his sound vanishes into a series of unremarkable elements; zoom out too far, and it evanesces into generality.” Just marvellous.

This episode of 60 Songs that Explain the ‘90s is also fantastic, with host Rob Harvilla describing one old Celine Dion song as “like drinking rosé from a fire hose.” Like all great music writers, Harvilla is never snobbish about any of the music, and speaks so well about each song’s context and influence that I want to listen to everything ever recorded by every act. 

The After Party is a wonderful programme, made comforting and delightful by the presence of Sam Richardson (sadly not in Baby Show mode) but raised to heart-stopping bliss with John Cho. How is that beautiful man 51? Or rather, why do we not know better how beautiful 51-year-olds look? Anyway, full-blown limerence is occurring, even when he’s doing ridiculous dances and absurd speeches; his episode still breaks my heart and I’m here to watch your travel show, Ulysses. 

I gulped down The Devil’s Candy, Julie Salamon’s incredible account of the making of Brian De Palma’s The Bonfire of the Vanities in 1990. The access she was given to everyone from the top execs to the (predictably mistreated) interns makes this a jaw-dropping look at the decisions that turn an idea into a finished film, and one doesn’t get the sense things have improved in the industry in the last thirty years. 

Can I recommend, on a tired, dark evening, having fish finger wraps? It’s hardly rocket science — cooked fish fingers in wraps with tonnes of crunchy lettuce, and a huge spoon of quick tartare sauce (on very tired, dark evenings, I just chop gherkins and put them, several spoons of drained capers, and any onion stub lying around, finely chopped into a bowl of mayonnaise) (or even use stuff from a jar, I don’t care). It’s salty and crunchy and warm, costs little and requires almost no thought. 

One housemate has developed an unusual passion, in the form of Willem Dafoe, on discovering that he lives in Rome, keeps alpacas, and owns a rescue greyhound. I totally get it. Another housemate leaves me in the morning calling, ‘Carly Rae Jepsen and Pikachu!’, a reference to this slightly addictive xkcd comic, and I feel completely delighted with the state of the world. There is a balance to be found in all things. 

Yesterday snow, so fears that my fading head torch wouldn’t get us all the way to the river were moot; the glow from the snow-bound fields turned the pre-dawn sky peach, and even on the bank it was bright enough without torches to have read a book. But my goodness, the water is colder than my body can remember.

And nearly Yule, and the days will lengthen again. Joys!

Quelle année, hein? Between my current obsessions of existentialism v nihilism, the bread recipe I’ve recently started using, the programmes on cults and scammers my algorithms keep feeding me, and the historical cycles that suggest we’re in for a rough ride shortly (but boy oh boy will some things be a lot better afterwards), I have some 2022 delights to share.

BOOKS

January brought two gorgeous graphic novels into my life: Alison Bechdel’s The Secret to Superhuman Strength, which was just what was needed in a Run Every Day January that ended up with me having a post-Covid relapse (fool); and Tom Humberstone’s Suzanne (full disclosure: Tom is a pal and I was sent the book to write the blurb). It made me cheer with delight at its skill and wit, celebrating the sheer guts of a woman carving her way through a man’s sport.

Children’s books were all re-reads: Rumer Godden’s The Doll’s House (terrible suspense clothed in sweet white lace), Louis Sachar’s Holes (racism and the prison-industrial complex dressed as a kid’s adventure romp); and the original Hunger Games trilogy, reread to discuss with a housemate (which mostly descends to me sobbing as we attempt to talk about certain characters). I’m almost sorry the series was so popular, because popularity always begets countless knockoffs that end up damaging the reputation of the original, but Collins’ books really are very good. Katniss is a brilliantly unreliable narrator, and the world built around oppression, division, figureheads, purges, the 1% and the violence they’ll use to keep inequality in place, is something we may all become re-familiar with soon enough.

I’ve covered most of the non-fiction here before, but a quick recap. Blurb Your Enthusiasm, funny and niche and brilliant, buy it for everyone you know who loves books; Four Seasons in Rome, particularly if you go to Rome; and Raising Demons, whether you are, in fact, raising your own demons, or just want a peek behind the curtain at the home life of the Shirley Jackson, Horror genius. Two I’ve recommended repeatedly in person, if not pressed copies into hands: Recovery: The Lost Art of Convalescence, a comfortingly slim work by a GP, telling us everything we know but never pay attention to: that illness should be followed by recovery, recuperation, and convalescence, that medication isn’t everything, that we are healed not just by pills or operations, but by fresh air, natural light, trees, small, good meals, and time. An almost impossible prescription, but a truth we’ve forgotten about over the last 100 years. Finally, Foolproof, out in February, which I read for work a few months ago and have not stopped talking about. How do we combat the hysterical tone of conspiracies and cults online? How do we save ourselves and our loved ones from internet misinformation? What hope is there? Loads, if Sander van der Linden has his way, which is how I like it.

Fiction, I shall try to be quick because there are so many, but all of these had impeccable writing, tight, sharp and bright, and reminded me why I love reading (and especially why I love reading for my job, which leads me across genres). Young Mungo, beautiful and devastating; Piranesi, dreamy, like an adult Diana Wynne Jones novel; They, dystopian and wonderfully creepy; The Housekeepers, which I would have given my eyeteeth to write the screenplay for, a visually luscious Victorian Ocean’s 11; Lord of the Flies, a reminder to reread those masterpieces we think we remember; The Marriage Portrait, razor-sharp writing and a rarely seen autistic girl in literature; The Birds & Other Stories, because you can’t ever go wrong with Daphne du Maurier and her subtle undermining of the patriarchy; The Weather in the Streets, funny, brutal and dry as a bone on not knowing what you want from life and messing up attempts to get it; The Vet’s Daughter — why are we not reading Barbara Comyns every day?; Foster, tiny and jewel-like; Really Good, Actually, and I beg you not to look at the author quotes and just read it, because it deserves to be loved — a High Fidelity for 2023, if that appeals, and a bleak but hilarious look at the myth of self-care if that appeals more; My Turn to Make the Tea, funny and insightful, and I love a book without a real plot; finally The Colony, which may have recency bias as the last full book I read, but the writing is flawless, even if it made me think again about the responsibility creators have to the lives they give their characters.

FILMS

Family films, if you want something lighter over the sofa season: Bill & Ted Face the Music was watched when I was extremely hormonal and I wept with joy throughout — who knows what the quality is on another day, but I loved it right then. The Man in the White Suit is a remarkable (and funny) commentary on invention and capitalism; Charade has both Cary Grant and Audrey Hepburn, so really what more do you need; My Cousin Vinny has a comical Joe Pesci and Marisa Tomei, and is great for a Sunday afternoon. Gentlemen Prefer Blondes is gorgeous and, as they say, iconic (’Hey! They said you were stupid’); Good Morning is gentle, stunningly shot, and makes me wish I had someone making me delicious rice every day. We had a weekend of the Lord of the Rings trilogy, which started with mostly heckling but ended in my usual copious weeping. January will see me reread the marvellous books, and I’m sorry that I always used to (wrongly) agree with Paul Merton’s comments on the first book here. Animated with fresh artistry away from the bland Pixar mould, The Mitchells vs. the Machines deserved its rewatch (DEREGULATE TAPIOCA); wonderful Raiders of the Lost Ark suddenly awoke me to the fact that watching it weekly as a child meant my wedding dress was a straight mash-up of Marian’s two frocks; Little Women is perfect and I don’t regret my three cinema trips to watch it (or the many subsequent small screen viewings this year).

Four documentaries to watch: Some Kind of Heaven, which, like Mad Men, is both a celebration and a searing condemnation of the American Way. Speaking of which, Boys State: watch it, take some time to cool off, then google what they’re all up to now. The Princess is an excellent look at the building and destruction of a public icon, made up only of contemporary clips; Crip Camp is a loudhailer calling us to recognise the work and joys of disability campaigners, and to remember those human rights battles still truly needing to be fought.

I got into horror this year! Fresh and Men and Nope and The Black Phone! They’re good! They actually made me feel better about the world! 

Two cinema highlights: Jackass Forever, dumb and joyful, and Don’t Worry Darling, smarter, hotter, and more interesting than the coverage would have you believe. Pugh is a marvel and Styles does exactly what he’s meant to.

TV

Looking at them now, I understand why these five were my top picks and I gave up watching more gloomy TV after an episode or two. Slow Horses and Severance and Mythic Quest on Apple, The Witchfinder on iPlayer, and The Bear on Disney+, all wildly different genres but all containing, essentially, an existential view on humanity and the value of connection. Plus spies etc! Don't read anything about them, but if you have access, just watch a couple of episodes and see what you think. They have inspired and hooked me through the year.

FOOD

Speaking of The Bear, there is a recipe which has become an almost weekly treat here and is a direct lift from the programme, but I’ll only share it with you once you’ve watched all episodes. My god it’s good. This is the bread I’ve started making (the third one in the video), and reliably (to crib the great Jeffrey Steingarten) ‘the bread is more than good enough to eat, and some days it is so good that we eat nothing else’. Pre-Rome, I also discovered this focaccia recipe which is embarrassingly simple and tasty.

I don’t want to abandon my sourdough starter, though, so I use the dough for pizza bases, rolled out into long ovals (approx 100g per person) and topped with olive oil, fresh corn (sliced from the cob, briefly fried), mozzarella and jalapeños and cooked, then topped again with sour cream, crumbled feta, coriander and lime juice. White pizza heaven. 

This French Onion Pasta is a great filling evening meal in the cold months, as is this amazing chicken and pumpkin tray bake from Diana Henry. We occasionally leave out the chicken for vegetarian or budgetary purposes, and it’s still delicious; if you don’t make the sage butter (or forget it in the fridge), this is really good with a side bowl of 50/50 mayo and sriracha.

Gwyneth P’s Polenta & Roasted Tomatoes is unbelievably quick, and feels like a hearty but not heavy meal whenever it’s dark outside — in summer I actually managed to grow the tomatoes myself, for the first time ever (banana skin juice appears to be the secret).

Scones have seen us year-round: wild garlic scones in late spring, bramble scones in late summer, cheese scones after autumn walks — what is the winter equivalent? Fig and mature cheddar? I may experiment. Otherwise, Benjamina Ebuehi’s Pecan & Burnt Honey Cake has become an enormous favourite for dessert. Perfect on the day, and even better after a night in the fridge, it’s worth buying her (excellent) book for alone. Nigel Slater’s rice pudding gets a fair few outings too, although I still think his numbers are way off (I times everything by 1.5, except the rice which I take from 80g to 200g).

I wish you and your loved ones a great Christmas and a safe, healthy and happy 2023. x

I enjoy it when something is simmering in my head, and I’m struggling to think precisely how to word it, then I stumble upon something already published that just what I need, and often worded far better.

1. On comedy and its importance, David Mitchell on an old episode of Rob Brydon’s podcast (around 40 mins) says: ‘In our culture, there is a notion that acting something [not comic] is more significant and more important than comedy, comedy is trivial… I will die on the hill that something with jokes is better than something without jokes. You say things more powerfully, and more entertainingly, through comedy… Sitcoms: every other art form is about things changing, about moments of change and transformation, which is incredibly self-important, because… the general experience of human existence for millennia has been unchanging drudgery and a sense that that spark in our soul, that thing that makes us different, is being frittered away having a boring or dissatisfying lifestyle. There is only one art form that addresses that human experience, and it is the sitcom. Films are about change, novels are about change; sitcoms are about continuity.’ It reminds me too of the famous Ursula Le Guin quote, about the ‘bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid’. 

2. Speaking of unremitting drudgery, I do also ponder constantly the same handful of questions over and over again (apologies for the large handful): 

Has social media made us genuinely more connected to people? Why do digital natives have off-the-charts poor mental health and self-harm? If sexuality has been liberated from all those tired old confines, why do women and girls suffer — physically, emotionally, sexually — from pornography being one of the most consumed forms of media, and normalised enough that otherwise-inclusive, teen-friendly sitcoms like Brooklyn 99 joke about it in every episode? Why hasn’t identity politics widened the sense of ‘what is acceptable’ to create a beautiful unicorn world, but instead done a wonderful job of putting up unscalable walls between social groups and between individuals? Why hasn’t our constantly connected society built stronger bonds between the people with whom we spend our physical and communal space, with the result of improved support for the most vulnerable in that space? Have computerised and contactless payments improved our personal debt levels or spending habits, or just invited us to walk into a world of financial controls that benefit only the few? Why do we accept that technology has failed to liberate us from work, and that most people you know check their work emails for many more hours than those companies pay them? How does capitalism work when we have no more resources and no money to buy the things we don’t need? What is the government plan for when we’ve run out of nurses and doctors? With all the information at our fingertips, are we more engaged with local, immediate politics, or have media owners and politicians convinced us that it’s all too much, they’re all as bad as each other, there’s no point, voting is a triviality and haven’t you got something more fun/enraging/colourful/terrifying to look at? 

(Some of these I have my own answers to, others I have no idea.) 

When we need, viscerally, a better world, one in which we can breathe and live and co-exist, are we treating our brains well enough to engage with discussion, debate, changing our mind, admitting our errors, finding a compromise, abandoning our ideas of moral purity and opening ourselves up through community contact, crafts and culture, fearlessness and vulnerability, being outdoors and feeling the balance of nature that exists beyond the world of our tiny screens?

Three things addressed all these perfectly: firstly, and perhaps most bleakly, this twitter thread someone sent me about terrorist and murderer Ted Kaczynski. Didn’t we all have that phase as teenagers of thinking, ‘I mean, apart from the monstrousness of the unnecessary deaths he caused… has he… got a point?’ Turns out middle age takes me back there. Secondly, and more hopefully, this extract in the Atlantic about Russian troll farms deliberately tearing apart US society, and the signs that these same tools can stitch it back together. Thirdly, this fantastic book, out early next year, which not only continues the story of why we are all so fractured, but also what we can do about it, and the simple mental vaccines we can self-administer and encourage schools and groups to share, to inoculate us against the horseshit and idiocy that turns much of the internet into a cesspit. It’s OK! We can do it! But we probably need to make better choices about how we spend each moment of the day! And also maybe a global revolution of some sort! But I’ll leave that to the better planners!

3. One day, one day, I will stop fixating on why I dislike Promising Young Woman. One day. In the meantime, and after watching Don’t Worry Darling with a film-fan housemate, I think I have a little more of it: that PYW is everything I loathe about modern life.

She’s damaged, so inflicts that pain on others; she’s hurt, so her pain is the greatest; her nightly plan of — what, revenge? — will essentially radicalise even more dudes into hating women and believing we are all liars and manipulators; she abuses other women; her suffering is somehow heroic, rather than boring and self-indulgent; she deprioritises the feelings of others (her parents, her friend’s mother, her colleague) because ‘trauma’ is fine to have as your sole personality trait and honestly fuck everyone else; and more than anything, I loathe that her plan is to hate as hard as she can before actually, men carry on doing what they were doing and there are zero consequences. Compare PYW to Don’t Worry Darling (criminally underrated and almost deliberately misunderstood by reviewers), or Fresh, or Men, or Melancholia, or Shirkers, or Shiva Baby, or, of course, Under the Skin, and its flatness, its disconnection, its cynicism, start not to seem like thoughtful reflections of the protagonist’s injured mental state, but an early 21st-century glossy belief in those choices as the only ones to convey importance. Christ, I fucking hate social media. 

4. This rice pudding recipe is mind-blowing, if you don’t mind the increased faff compared to Nigel Slater’s (I can’t find that one online, but drop me a line and I’ll send it to you). Also, I assume there’s a typo in the Olive recipe; I’ve made it twice and taken the 450g of butter down to 200g, and even that’s too much. Go for 180g and give your arteries a high five if they make it through.

Take care, gang x

Autumn equinox, and we creep from our houses in the new blackness of the mornings and dip in the river, and I am so happy. At home, a breakfast en masse of autumn foods, a consideration of balance and the coming cycle of darkness, and then to our respective works. I have been meaning to write for ages — so many thoughts rattling around my head, and it always takes a festival to make me write them down — and then I hear about the death of Hilary Mantel. 

 
I understand that life is also death, that ends bring meaning, that life is suffering, that I did not know her. But I also understand she is the best writer I have ever read, I think, and when I read her essay on royal bodies nine years ago I was sitting alone in a coffee shop in Sherwood Forest Centre Parcs and I felt her sentences landing like physical blows on me, strong and clear and striking. I have loved so many different writers and books before, but I had never had such a sense of burning intelligence in words. When something happened in the world — political events, cultural, geographic, social — I would always thrill at the thought that she might write an essay touching on it. She was an utterly remarkable writer. 

I want more books as good as hers. I want more minds as intelligent as hers. I want more people with her wisdom and clarity. I want to live in a matriarchy where women in their forties and sixties and eighties and beyond can use their valuable life experience and immense skill to communicate complex, fascinating ideas in cherished essays and novels.

 
Why do we get so upset when the lives of people we don’t know end? Life is balance. I hope I am lucky enough to experience whatever great thing may balance out this terrible one. 

Some brief recommendations and thoughts, pals, as we tip more noticeably into the end of summer, post-Lammas.

1. This Rosamond Lehmann book — unfortunately I had the previous Virago edition which was all mushy pinks and oranges and embracing couples, and at first glance at cover and blurb it does seem to be a rather mushy book: women and babies and love, yawn etc. But as with very many of those early twentieth-century women authors, the writing is knife-sharp, aware of everything, and covers not only women and babies and love but also Art, and grief, and friendships, and the deals we make with ourselves and the way we deal with ageing and dying parents. It really is astonishingly — and I say this like it’s a compliment, as if to exist in our own time is the greatest honour of all — but it is staggeringly modern in the depiction of the protagonist, Olivia. By which I suppose I just mean that she is an entirely three-dimensional person.

2. Speaking of blurbs, may I shill a beloved former colleague’s book? I was extremely lucky to read this a few months ago, and beset with that strange mixture of delight and acidic envy that creeps over when reading something brilliant by someone you know. It’s so intelligent, so funny, such an excellent, thoughtful and hilarious window into blurbs and bookselling and publishing, and I know that might not sound like a marvellous pitch but if anyone you know likes reading or words or books, I promise you this is the Christmas present for them. It deserves to do horribly well, at which point I shall have to stop talking to Louise. (Also, all of us blurb-writers wrote blurbs in the back! And we have our names on them! That never happens!)

3. I am almost always thinking about Mad Men at any given hour of the day. Today I am thinking about how many times Bobby Draper was recast, and how that in itself is possibly a comment about the instability of men in Matthew Weiner’s world, and how interchangeable and same-old-same-old they are, in comparison to Betty and Peggy, Joan and Sally.

4. Some good podcast episodes recently, now that I’ve finally been able to stop obsessively listening to the same programme after seven whole months. This Adam Buxton episode with John Higgs is very good — I particularly like the idea that if you take a month-old newspaper, you can suddenly see how meaningless and irrelevant most of the stories are; of course that’s essentially the old chip-wrapper maxim, but I was interested to hear someone so erudite able to verbalise my own instinct to turn away from the news. Alastair Campbell and Rory Stewart’s podcast is better than I expected, and Campbell has similar advice to young people wanting to engage with the world: Read books, not newspapers, and listen to music, not the radio. If ever there was proof of that theory it’s right now, with the wall-to-wall coverage of our Prime Minister’s election in which only a handful of people can cast a vote. There’s also something somewhere in those episodes, or others I’ve been listening to, about how social media feeds populism, even for us nice folks who will always be on the right side of history!, but I need to chew on it more. A lack of clear external moral codes? Rewards in our brain for when we focus on self over service? The paralysing of choice with all the potential moral potholes? Cynicism rendering democratic engagement seem futile? Not sure. More thought required. 

Two Decoder Ring episodes I enjoyed too: one on Rod McKuen, an American poet I’d never heard of, in which the presenter says, ‘I find [the poems] actively embarrassing… There is something about bad poetry that’s maybe more painful than any other bad art. It’s so open, so deeply sincere and yet so empty. It reveals the yawning banality at the centre of all our souls.’ God, yes. And yet! There is also something there about the surprise of discovering unexpected authenticity and quality at the heart of someone’s work, and also the joys of the unexpected that only hard copies of things — CDs, records, books — allow us to find. The other episode is on the Laff Box, the canned studio laughter that rarely pops on on TV comedies now. They play a YouTube clip where someone had removed the laughter from Friends episodes, and the strange stagey, humourless air it left reminded me so much of a few films I’ve watched recently that came with high praise yet felt as if they’d been made by filmmakers who hadn’t yet experienced human interaction. 

5. I am sorry I’ve only just discovered this Larkin poem, I like it very much; I find myself thinking of my father quite a lot recently, and wonder if most people feel that they don’t truly know anything of their father; back to these medium-difficulty cryptic crosswords for the summer holidays — can I recommend these? There is so little as satisfying as feeling one’s comprehension around them gradually improve.

6. In Waterstone’s behind a customer the other day, listening in only fully when they say they are a local author and the bookseller whoops with delight and tells them how much they love their book and they must come and do an event. I meet the eyes of my housemate and remember my own approaches to the same bookseller last summer, and I am so grateful my housemate has the exact same face on that I am pulling in my head. How we laughed.

7. Two more things, quickly: Boys State is great. Crushing and blackly comic and bro-ishly romantic, and don’t read this until you’ve watched it, but also hope. Lastly, rewatching the Juice Box episode of Mythic Quest with another housemate, who piped up at the rendition of The Rainbow Connection, ‘Isn’t that that song from La La Land?’ YES IT IS, my friend. Good lord.  

Summer Solstice, and recent days continue to be processed by Disney: a run to the river finds a deer cropping the grass among the geese; working in the garden I’m distracted by a drone above, and look up to discover a nearby tree is briefly full of bees in swarm; an after-school swim feels like half the town is there, along with dragonflies skimming the surface and birds of prey regarding us from afar; the river this morning is lit through with a pink and green warm mist as we climb in for a festive swim.

I keep listening to (and watching) this Orla Gartland song, because it’s great and because she’s right, none of us are special. Gartland sings: Find the ones that get you/Stick to them like hot glue - I am filled with love for those women willing to climb out of bed in the middle of the night for swims year-round, because who knows when any swim is our last, so maybe love is all that can be a constant? Before death, other things get in the way, and none of us are getting any more nimble as we splash in and out of the water, so instead I stick like hot glue to the fact that it’s been years of this, now, and I’m still amazed to have found such serendipitously aquatic and life-savouring women.

I miss those other moments of serendipity that seem impossible in 2022, moments like pulling up beside a car at traffic lights and seeing them mouth along to the same song you’re listening to on the car radio. Do we have enough moments of connection to make up for those lost ones? Crossed telephone lines and unexpected meet-ups in another country and second-hand books that have a recognised name inked on the first page? I know I’m caught up in the nostalgia trap humans have been prey to since we became humans, so I can only wander so far down this path and still claim any self-awareness. I miss a great deal that’s gone, but I’ve tried to train myself to feel it as love, not loss: it’s love I feel for the range of books we had as children — while we’ve now got a much-improved diversity of authors, the capitalist necessities of the publishing business mean the books released now still seem to fit into three or four narrow and rigid types. Where is the skin-crawling weirdness of Oz? The everyday literary cleverness of Geraldine McCaughrean? The present-day devastation of Robert Westall? The respect for the reader’s intelligence/nerdiness of Leon Garfield? Where is the wonderfully spooky quality of Margaret Mahy, or the humour — the humour, goddammit! — of Sue Limb and Sue Townsend? Where do teenagers get wit on the page? (Obviously, all these types of books must still be being published. I just wish Waterstone’s would stop making tables of forty books that are different in title but identical in jacket, because they’ve demanded the publishers do it that way.) So I feel love for those old books, and love for the new books I haven’t discovered yet, and love for the friends I might not see these days, and love for the ease and misery of our shared teenage years as I watch how teens now have everything against them but still show up with wit and hope, cleverness and competence. A summer solstice with sun and nature, and a breakfast of brioche makes it easy to shape all those feelings into love.

The wheel continues to turn. I was talking to someone recently about the difference between feeling we’re stuck in a circle and recognising everything is cyclical — my bad habits aren’t a washing machine I’m trapped in, they’re a habit I have daily opportunities to change, etc etc. So the days begin to shorten again, and I don’t like the dark evenings or this dark reality we’re in, but! If I’m lucky, I’ll see at least another cycle, and I’ve discovered a v easy recipe for cheese-stuffed garlic naan which is out of this world, I’m rereading the great Lord of the Flies, I’ve got Harry Styles/Taylor Swift mash-ups on repeat, and I tell myself that even the darkest timeline has jokes, and bread, and people with whom we want to find real connection.

1. The last swim I have before the Easter holidays is in the snow. We are in the water when we notice flakes falling from the grey sky, and we run home in thickening torrents, so cold that the flakes on me don’t melt even once inside the house. A few days later I am in Rome with the housemates, shamelessly weeping in the streets at the beauty of the light, the buildings, of being abroad again after so long. I read Four Seasons in Rome on the way over and the first night, and spend our remaining time there repeating Anthony Doerr’s facts and experience like catechisms; I find a great deal of truth in the book, from the dizzying ‘too-muchness’ of Rome to the finding of small reasons to live. After five days there, I feel almost immune to the ubiquitous historical beauty, but after five days at home I am desperate to go back, to see the thousand and one things I missed this time around.

When we get home, spring has arrived, and suddenly layers are lifted from river dips as the days pass — gloves and hats and extra jumpers, and although every single swim is worth it, this is the time of year that is an extra gift, a treatment of light and birdsong. At Beltane, walkers greet us, and someone tells us a Morris man is dancing Beltane in, further upriver. As we tip into summer, the water-bites begin, but it’s a small price to pay for hearing a cuckoo call its name to us each morning from the riverbank.

2. Another book I enjoyed among the churches and gelatos of Rome was Shirley Jackson’s second memoir about playing mother to her family, Raising Demons. I loved her first for its humour and observations about parenthood that still ring true today, and I loved this one for the way her writing about those same topics (getting a new puppy, moving house, her youngest child starting nursery school, introducing the children to the gentle hobby she enjoyed as a child) rang far more as the writer we know: creepy, haunting, weird, unnerving. Every chapter was still lighthearted, yet underneath it all was the weirdness that haunted her whole life, and when I read more afterwards about the family’s real life — the local woman who would regularly empty her rubbish into their front hedge, the swastikas the family would find soaped onto their windows — the more I thought, Yes, that’s what’s underneath these stories. There is a shadow beneath every ray of light in delicate balance here.

I watched Fresh recently, before we discussed it in our film club. I know I have to get out of the habit of using every film with a female protagonist as a stick with which to beat Promising Young Woman, but there were such useful parallels between these two films that I couldn’t avoid it. A wiser, more horror-watching member of our group said that he tries to understand the horror filmmaker’s worldview to comprehend where a film is going and what it’s saying; whether it’s purely nihilistic, or offers redemption. This was exactly what I’d been trying (and failing) to say in my comparison of Fresh and PYW: that both are horrifying, frightening, haunting, violent, grim commentaries on the objectification and destruction of women. But while PYW offers no other convincing tone — the ‘romance’ in the film which is meant to offer emotional connection begins with Carey Mulligan deliberately spitting into Bo Burnham’s coffee, which he then drinks, a lighthearted touch which made me want to turn the film off and lie in a field listening to birds — Fresh offers a clear pleasure in life: friendship, nights out, in-jokes, lunch-break burritos, moments of shared recognition with other women. There is a contrast in Fresh, a space between the darkest moments and the lightest, a chance to see the shape of things in both shadow and light, that currently is my best understanding of what authenticity might be.  

Spending the last year occasionally grieving the instant disappearance of my most recent novel, I have thought a lot about authenticity. Why does some art bring us to tears, to laughter, to delight, while other art makes us repulsed or turned-off; and other still fail to register at all? Why did Yellowjackets and Breaking Bad make me exhausted and bored and angry at their silliness, but Severance and Mad Men make me want to weep at every moment in awe and enjoyment? Why do the latter two make me think about capitalism and sex, countries and identity, internalised grief and externalised anger, small gestures and the price of forgetting, while the former two just make me imagine a writer’s room full of self-congratulation? What is the gap between them?

Fresh and PYW made me understand one possibility — that the film and TV and literature I enjoy offer contrasts between nihilism and optimism, but the others offer only one. Promising Young Woman and Breaking Bad are set in worlds where there is no real pleasure to be had — love is a debt that hangs around your neck until it destroys you, good times will only ever make you feel worse, laughter is the shit that hurts the most in the end. And things that were once comforting to me, action franchises and gentle reality competitions, currently make my brain ooze out of my ears with boredom. It is all light there, with no shadow at all. Is it contrasts, then? Or is authenticity just feeding the need for something that feels new?

It can’t be only about original IP versus existing IP, although that helps: do we need a fascinating podcast episode turned into a full documentary turned into a fictionalised glossy drama? Does it encourage something unhealthy in us when franchises are approaching double digits? But for every TNMT and Chip ’n’ Dale, we also get a Paddington, which seemed like a disaster waiting to happen, old IP dredged up in a CGI age, yet turned out to be (particularly the sequel) an absolute masterpiece of family bonds, social responsibility, prisoner reform, and barbershop japes. But on the other other hand Everything Everywhere All at Once, for me, had as its only real positive (beside the absolute brilliance of Michelle Yeoh) the fact that it was so very novel. It was, for me, still written with the leaden hand (or rubber dick?) of self-congratulation.

Am I using authenticity to mean too many things? Do I mean intelligence? Do I mean hope? Do I mean something that wasn’t written by a social media bot? Am I saying authenticity when I just mean that I liked it? Why does Severance — a weirdo show about weirdos in a weird collective with an unknown mystery at its core — have the shape of authenticity to me, when Yellowjackets — a weirdo show about weirdos etc etc — ring so false? What does false mean? How do I verbalise that my loathing for computer games tastes the same as my hunger for authenticity; that the best-written game in the world feels like Matrix-esque shadows on a screen, sucking hours from a life that we’ll never get back, hollow at the core? I mean, I watched Titanic in the cinema four times. I have zero legs to stand on when it comes to living life at its fullest.

This weekend, in the half-sun, two books that have such similar shapes: why did Priestdaddy make me laugh so much but Your Voice in My Head felt so much more clear and true? Why do I have such a horror and embarrassment of poetry, and is the raw feeling of it something I should have aged into by now, alongside my walking holidays and learning an instrument again and caring about church architecture and being delighted to receive socks at Christmas? How does anyone find a balance between sentimentality (bad, manipulative, the realm of Pixar and Breaking Bad and Russian Doll’s second series) and humanity (good, organic, Susanna Clarke and David Sedaris and Kay Dick and Slow Horses and Russian Doll’s first series). Why did Jackass Forever give me hope for people and the strange love we can find and the strange ways we show it, and send me dancing down the street from the cinema, but Fast 9 left me in a sad mute pile, when they are arguably just two sides of the same stake-less, stunt-filled, silly family coin?

Is this like saying: What makes something taste good? We can argue that it’s butter, or salt, or sugar, or umami, but plenty of people don’t like butter or salt or sugar or umami. People don’t like roast chicken, or fresh pasta, or new bread, or pavlova, or watermelon, or many of the things I like most in the world. So am I trying to define the indefinable? Is this just snobbery? Am I just hungry?

3. I also read The Colditz Story recently, and besides the delightfulness of Pat Reid’s stubborn refusal to feel defeated or crushed by the Nazi officers keeping them under guard, one thing struck me: Reid talks about how Colditz was meant to be the absolute inescapable prison camp of prison camps, for all those officers who had previously attempted escape. But what the Nazi forces hadn’t realised was that escapes are ‘the result of cumulative knowledge’, and if you force together people who have a particularly tendency or interest in, say, escape, you pool that knowledge and that interest until it is all they can think and talk about, and it becomes the absolute focus of their lives, for better or worse. In other entirely separate thoughts, the internet is great for the overall widening of experience and interests of children and teens in their vulnerable formative years, isn’t it? Or indeed for any of us when we feel pushed out of what we perceive society to be? Hmm, authentic thoughts indeed. 

4. In this strange weather of hot grey days and clear bright days, I make this a few times, Anna Jones’s amazing corn chowder, and stir with one hand while reading this amazing book on the Sackler family. The only downside to the book I can see so far is that I find it impossible to pick up without getting this stuck in my head for several hours.

5. Charade is worth watching if you’ve suddenly realised Rome has bankrupted you and you may never again visit Paris. Plus both Cary Grant and Audrey Hepburn are, of course, wonderful. 

Winter Solstice, and we run to the river with whispered greetings, a cluster, making greater effort always for the riverbank’s high days and holidays. Home for a bath, midwinter candles, apple porridge, and Britten’s Ceremony of Carols, of which I was reminded by a transporting episode of Soul Music which captures well the weirdness and magic of the pieces. Thin indeed the veil between this world and others right now, knitted with tradition and ritual; I find myself seeing my father often, in the old, stooped men in our neighbourhood, and while I don’t grieve his absence — unhappy, unhappy presence that he became — I feel sad that he doesn’t get to be alive any more. For all the horrors this world may contain, he has also escaped every one of its pleasures.

It soon became clear that I had chosen the worst book we’ve read this year for our December bookclub, but it has been cancelled out by the memory of the excellent Lolly Willowes from the month prior; I think Sylvia Townsend Warner’s brief, odd, beautiful little work may be my own book of the year. Lolly’s flavour of ageing pragmatism and insistent solitude has made me think of it every day since, and recently a friend and I discovered in hushed but warmed tones how tired we each were of hearing the voices of twenty-somethings, like Lolly. Idealistic and fresh-eyed at best, mostly they seem crazy-paved with cynicism, marketed to since birth, with no concept of ‘selling out’ and only of being a strong personal brand, sure of everything, experienced of nothing; or maybe it’s the social media paradox: if one’s opinion seems worth broadcasting, statistically it probably isn’t. Memes, quips, irony: none of it is a diet to live on. (God, what a tiresome old hypocrite I’ve become.) And of course that’s a sweeping generalisation, of course there will be barrels of humble, hungry-to-learn, helpful and open-minded twenty year olds just like we weren’t, but when one starts to feel old — not old old, but lingering now in the doorway of old and peeping in with hope and dread — perhaps one pleasure at this brief transitory moment is recognising that these young voices haven’t yet become refreshing and rejuvenating, but are currently simply not what the doctor has ordered. Would my younger counterpart despair now at my growing love of long country walks, old churches and high church C of E pomp, drying fruit, raw broccoli, slippers, bird-spotting, gardening, naps? I suppose the greater point is whether I would care about her reaction. (I would not.)

After finishing the terrible book, I started The Dark is Rising again, and was beyond delighted as I sat beneath a dog in the twilight of Midwinter’s Eve, to discover that this classic children’s novel opens at that very moment, decades before. Is the Rider Welsh? I’m sure later his accent is more Danish, but for some reason he has Michael Sheen’s face in my mind this time around.

Right. The Yule log (black cherry for the Solstice, to distinguish it from the Christmas Day Yule log) needs to be finished, and the Solstice wreath lies in green pieces on the kitchen table, holly and fir, bramble and dried oak, waiting to be wired together by helpful housemates. There’s plenty on the radio at this time of year, but for humans being inspiring in various ways, might I recommend this episode of Criminal, this episode of Seth Rogen’s podcast, this episode of Hidden Brain, this episode of 60 Songs that Explain the 90s (or maybe festively this excellent one?), this episode of This is Love, this episode of The Untold, and/or any of these excellent Adam Buxton episodes. Listen to the wonderful Orla Gartland, watch this great and devastating bit by Cecily Strong, give any spare cash that might have gone on a Christmas night out to other clowns here or here. The days are getting longer now! Light returns. I hope you have some hope to light your way in these bananas times.

1. Happy Mabon! Every autumn, I forget that the darkness comes clanging down in a great rush in the mornings. One day, I am greeted by a pinking sunrise. 48 hours later, it’s so dark on my run to the river that I have to stop a passing runner and check the time, in case my disturbed sleep sent me dressing and leaving the house at 2am. This summer may not have given us those mornings where it’s so hot I can barely get out of the water, where those early hours feel like full silent days carved out just for me to sit in the light and wait for everyone else to wake up, where the only extra thing I put on to run home is my trainers — I look at my waiting winter gear, neoprene socks and gloves, head torch, two more thickening jumpers, hat, thermal mittens — but every season, every day, is beautiful.

Today we go early for celebrations, and the water is silky, and Orion hangs over us with his phallic sword dangling and Betelgeuse winking on one shoulder. The near-full moon spotlights us and I feel almost ready for the shortening days.

2. Hilary Mantel continues to be a literary god. How does she write with that clarity? How can I ever speak with her calm good sense and wit? 

3. We have two main problems at the moment, as far as I can see. a) What we’re doing (“curating” our lives; twitter spats; purity spirals; division and isolation; wanting ‘debates’ that can only be won or lost; encouraging people to buy more things; trying to buy our happiness; letting marketers tell us how we feel about the world rather than encouraging major moral lessons from throughout the ages to challenge us on our weaknesses; refusing to accept that life is suffering; asking self-care to be a plaster for everything we don’t have) and b) what we’re not doing (joining together to stand against those with more money and power; protecting the people who have even less power and voice than we do as a matter of course; learning from history; protecting nature above all else; prioritising going for walks; learning to repair things and campaigning to make things repairable; having a basic belief in human dignity for all, not just those with whom we agree; accepting that truly, we are all different and no amount of shaming or disgust will change that; working to shape our societies, culture, economies, production, food supplies and communications around improving — not just sustaining — the air, water and land, and fighting to ensure all of those new shapes protect women and children).

Individualism has morphed into something so completely self-destructive that we’ve forgotten we need nature more than anything — literally, more than anything — and we need to unionise and unite and put aside differences and work together even with people we don’t like. 

Because when there are wicked people in power, when it’s genuinely exhausting to think about all the corrupt, venal, toxic, divisive, false, and cruel things they have done since coming to power, those people love to watch everyone below pointing their fingers at one another, saying, You, You’re The Enemy, You’re The Problem, while corrupt populist leaders rub their bellies and chuckle at another promise broken, another mass death on their hands, another building site on a protected forest. Do you understand the stakes here? Do you understand that it’s actual survival? It’s not about being right any more, it’s not about besting someone in the argument. It’s about having decision makers who can not only ensure there is still food to eat and air to breathe, but that relations both within a country and between countries are built on care, and support, and compassion, and believing in human dignity. And while it sounds wishy-washy and hands-clappy it’s the schmaltzy, sentimental truth. It’s the only one, really. 

If we instead continue to believe every single day that my feelings are the most important, that my beliefs are the right ones, that I’ve got to prove those baddies there are evil and awful and wrong, then honestly, what the fuck? If we’re happy to live in a country where hostile architecture is the starting point for all public builds, where we send refugee boats away from our shores, where affiliate links are a career goal, where we haven’t stormed the Daily Mail offices with accounts of all our lovely immigrant friends and family and had a huge feast together and compared our long and tangled family trees, then come on. It’s only a race to the bottom if we all keep running. 

Because, pressingly, whatever the spark of a major global conflict — assassination, fuel shortages, hyperinflation, invasion — the kindling is almost always a populace fed pure hatred for months, for years, until they can’t even taste it anymore but are ready to spew it out again, and are ready to use another populace as the receptacle. And hatred is brewed up in silence and isolation, and in the ashes of bridges burned between disparate groups. 

And on that note, I’m not a conspiracy theorist, mainly because I don’t believe governments are generally competent enough to manage Grand Plans, but it’s annoying that technology and social trends and culture have developed in such a way that no one knocks on anyone’s door for a chat as a matter of course now, that it’s a given that a ringing phone triggers anxiety, that it’s not the norm for cups of tea with your neighbours, that we don’t know each other’s neighbourhoods, that we don’t even talk on the phone, with live words and intonation and synchronised laughter, but in text, in WhatsApp chats, in tapped out words and symbols that we know can be screen-grabbed and misinterpreted, that we know are kept, filtered and sold by the tech companies. It’s not a conspiracy. It’s just a reality that every single one of us can choose to do differently. 

Sometimes exactly the right thing comes along at the right time. All of us here watched About a Boy at the weekend, a film which is so wonkily weighted and oddly rhythmed, but a perfect depiction of everything I’m banging on about here. Hugh Grant’s character likes being alone. He’s happy that way. It suits him. It’s his choice. Then, between one thing and another, he finds himself drawn into a world of a suicidal single mother, a duck-murdering young boy, more single mothers, more tricky teens, plus exes and mothers-in-law and awkward support groups. And it turns out that actually, being with people is better. Being uncomfortable often develops you as a person. Constantly prioritising only yourself produces a waxen, pointless baby. Making shared sacrifices might just be the point of being alive. Remember that to be human is to be flawed. That no one is ever completely right, and no one is ever completely wrong. That the boring stuff makes us feel good, and the glossy stuff, if all we strive for is gloss, doesn’t. 

If you want anything practical, here are the things that have really helped me over the last few years:

• Writing a letter or email regularly to my MP, to CEOs of organisations, to anyone I want to communicate my strong feelings and how I’d like things to be done better. Tweeting eats your soul. It’s a horrible myth the media pretends is important. It really, really isn’t.
• Inviting people to go in front of me in queues, in traffic, getting on to buses and trains. It lowers my stress levels right down.
• Learning the names of my neighbours and people I meet regularly on walks and letting them learn mine. (I definitely haven’t just decided I loathe a neighbour because they cut a bird-hatching tree down in their garden on the last day of the year it was legal to do so. It’s fine.)
• Joining a few political parties, and the closest thing I have to a union
• Making something, anything — everything can be done with love, and learning to not get sucked into the capitalist conceit of having to make it perfect, sellable, exhibitable is a genuine gift to yourself; making a cake or a film or a coaster and not putting it on social media, letting it be ugly or serviceless and loving it anyway. I felt extremely overwhelmed the other evening, but instead of doom-scrolling I knitted a… I don’t know, something flat and woollen, and it helped to have my hands and eyes working on directionless introspective creation. 
• Trying to stop hating. Every time I want to tell a negative story in my head about someone, I attempt to turn it into something positive: how unhappy that person must be, what they must be missing out on. It’s so nauseatingly Pollyanna-ish, and of course it isn’t always successful, and of course every single day brings a hundred thousand examples of cruelty and injustice and wickedness, but the alternative only makes my life feel worse, so why would I indulge that? 
• Teaching myself the names of birds, trees, flowers, clouds and constellations. I’m still at the most basic levels on all of these, but the difference one feels in the world when you can name things  — let alone use them and know their stories — is a very real sort of magic. (For that reason I hope to read this book very soon.) This episode of The Cut is also good on the wonder and power of learning the names of the weeds that grow in your nearest pavement crack. 

4. Creating anything is always a gamble, isn’t it, but writing a book you actually like for once and seeing it slowly and beautifully sink to the bottom of a river never to be seen again is ever so slightly crushing. However, it turns out even Thom Yorke feels that way, so I am comforted. 

5. I’m sure I’ve mentioned plenty of these before, but if you want some suggestions of where to find joy, here are my favourites from the last year or so:

I was given Lucy Easthope’s book, When the Dust Settles, for work recently, and I was surprised and delighted to discover the most uplifting, hopeful, human and rightfully angry book I’ve read in a long time. Do yourself a favour and preorder it. I bought this other book for my own birthday, gave it to a housemate to give to me, forgot about it, and was delighted to later unwrap He Used Thought As A Wife. Laughed a lot, cried twice. Marvellous. 

Now even the youngest housemate here can recite John Finnemore sketches and sing the songs. Has also taught them various composers, gods, logical fallacies and gothic story tropes. Also v funny. Oh, Kate Beaton! Her two books (Hark! A Vagrant and Step Aside Pops) are a bit like a comic-book version of Finnemore, but swearier and sexier and utterly unsuitable for all the housemates who have read it and been educated about the Brontes, Katherine Sui Fun Cheung, Tom Longboat, Nancy Drew, Ida B. Wells, Sacagawea, and the Borgias. 

Had to give Inside a restraining order against me for the sake of us all, but Bo Burnham’s Eighth Grade is a masterpiece of writing, acting, sound design and optimism. Spy is dumb action comedy polished to perfection, and Yasujirō Ozu’s Good Morning seems like the inspiration for almost all US arthouse films since 1990, and is also beautiful, funny, thoughtful, and good. 

Taylor Swift’s Evermore, like all brilliant albums, isn’t completely perfect. But most of the songs are. And Hole’s classic Live Through This is still just ideal for turning up very, very loud after a tricky day, for the enjoyment of any neighbours who may have hacked down a bird-friendly tree on the last day of February. 

Watched both series of Liam Williams’ Ladhood when I had a week off this summer, and really relished the location, the intention, and the writing. More please. 

Miles Jupp and Justin Edwards continue to be my comforting bedtime listening in In and Out of the Kitchen. Has it ruined Nigel Slater for me? Well, a bit, but no more than any of us deserved. 

I thought this would be a book I’d mumble through the first chapter of, then let get buried in my To Read pile, never to re-open. Instead, I found Whatever Happened to Margo? laugh-out-loud funny, drily written, and full of humanity. Excellent Women has made me want to read everything written by Barbara Pym, a goal I am slowly but surely working towards. 

6. I’ve spent the last few years trying to find hazelnut trees, and finally found a copse between a car park and a play area, full of nuts the squirrels hadn’t noticed. Now I’ve found them, the spell has been cast and I see hazel trees everywhere, on walks and on pavements and running along motorway slip roads. A tray of green and brown frilled hazelnuts now dries with the laundry. They are so beautiful. 

1. On bank holiday Monday I woke two of the housemates at 4.15am, and we made a pan of hot chocolate and opened the door to hear the dawn chorus. One of them sensibly remained on a chair in the garden, insulated against the early May morning with a duvet and blanket and thick onesie; the other walked out with me, into the dark, and we tramped the streets together, along the silent pavements, towards the river and fields.

We discovered that a large ivy-covered tree is home to a bat colony, members of which flapped silently about our heads in their haste to return before full dawn. A cuckoo was audible across the water. A starling clicked its beak and jittered up and down the branch. The housemate called me a boomer.

Of all the odd things I miss from last year, it’s the silence of the roads that is the greatest loss. At 6 o’clock in the morning there would be almost no traffic at all; now the birds are almost drowned out by the constant roar, even some distance away. Whether it’s hormones or poor emotional processing or a rational reaction to a damaged world, I feel angry at the traffic. I’m not saying it would necessarily be a 100% smooth process, but I do wish the world could be run by peri-menopausal, menopausal and post-menopausal women for a year or two. Just to see.

2. I am still obsessed with Orlando Wood’s short book Lemon (I was banging on about it back in February), and am so grateful to have so many people in my life who care about those same ideas. We’re in a left-brain cycle of culture at the moment, he explains: the left brain has a tendency to “isolate parts from the whole and to see them in the abstract… It likes to break things up into smaller parts, to categorise, and therefore favours the familiar, consistency, repeatability and predictability”. It also “prefers to see things in terms of simple and linear cause and effect. It prizes utility, power and control, and its ability to abstract and isolate things from their context enables it to manipulate the world”. What’s that you say? Wider cultural discourse and rights of individual groups, inability to have dialogues about, you say? Mmm. 

My favourite part of the book is when Wood breaks down two adverts: Heineken’s ‘Water in Majorca’ from 1985, and GoDaddy’s 2018 ‘Make Your Own Way’ ad. Remember that? No, me neither. ‘Make Your Own Way’ is full of colourful images, isolated people, or tiled with images of themselves to make a ‘conveyer belt’ effect, and clean-face words which could be applied to almost any product or company (watch it to cure your insomnia/trigger a panic attack); everything is buzzword-y, inspirational, keynote, statement, unilateral, and utterly, utterly devoid of humour, humanity, or engagement. 

One of the most striking things about Wood’s ad breakdown is that, once you’ve read it, you can’t stop noticing how in, say, three ad breaks within an hour-long programme, there might be one advert at most which doesn’t fit this left-brain pattern. Adverts for products as diverse as cars, period reusables, white goods, clothing catalogues, insurance, snack food, and supermarkets all, to some extent or another, fit the mould: bright images, little human connection, bland Instagram visuals, large slogans, spoken-wordlessness (better for the global market), a vague puff of do-gooding, and absolutely no wit at all. The only one I’ve seen recently attempting anything different is Maltesers, about a breastfeeding mother and her mother-in-law, which I admired for the milk-leak and loathed for the Hahahaha, aren’t women awful to each other?.

It’s draining to imagine the flat meetings and endless audience segmentation that enabled this ad trend: this sector engages on social media in the evenings and this demographic prefers a friendly looking home and our audience here is more about food as a pleasure. I’m loathe to break it to them, but for all that laser-focused research you are all making the same ads. And as Wood exposes so brilliantly, those ad campaigns are costing more and more to receive less and less engagement. Congrats, lads. 

3. Speaking of left- and right-brain world views, as so often happens this episode of Hidden Brain popped up serendipitously, with the wonderful host Shankar Vedantam interviewing Iain McGilchrist about his 2010 book The Master and His Emissary. It’s just over 45 minutes and is worth every second — McGilchrist is so clear and insightful about how to tell what type of brain is leading at any given time, what we lose in a left-brain society, and what we need to do about it. (I went back and checked and only then saw the book is in Lemon’s bibliography. Bliss.) 

4. For various reasons, a small toilet room here has been stuffed with balloons for the last week. It’s absolutely staggering both how not one of us thought to remove the balloons, instead bobbling through them to reach the facilities at any given hour of night or day, and also how immensely relaxing it is to go in there since they’ve been removed and humanely destroyed (I assume). It’s A Squash and a Squeeze in action, a life philosophy I cling to pretty robustly and find pays dividends. A housemate pointed out recently that whenever they are travelling in my car, they play a game to see if they can ever see another car in worse condition, and they say they never, ever can. It’s the Squash and a Squeeze philosophy that, in part, enables me to drive the dented, rusting, bubbled, scratched, lichen-furred, beloved piece of garbage I do, having previously had no driving license for almost two years after my seizure. It’s such a delight to drive any car at all. 

5. We’re rewatching Ghosts, which of course I recommend, and I suddenly realised that the Captain (Ben Willbond) is the speaker of possibly my favourite newspaper-based gag in the entire run of The Thick of It. Please watch all of Ghosts and all of The Thick of It, then perhaps The Death of Stalin? All thoroughly excellent, and the latter two contain my favourite kind of Muriel’s Wedding-type comedy, where I am tearfully wheezing with laughter one moment, then gaping with discomfited horror the next. 

6. I made Nigel Slater’s cardamom-spiced rice pudding this weekend, (although I times everything by 1.5 except the rice, which I up to 200g) and it was as good as always, if I say so myself. Cardamom, like capers, coriander, and pistachios, is an ingredient I’ve only come to love as an adult — I often long to make cardamom buns but am in such an emotionally entangled relationship with my sourdough starter that I never have yeast in the house, so have to rely on my favourite local coffee shop for a hit every now and again. If someone wedges themselves against the fridge door this weekend, I might attempt these. 

1. I had dressed in my swimming kit this morning with the briefest and most unusual sense of Ugh, another time loop morning. But by the time we got to our spot, the sun was low and bright, blazing gold, and the mist on the river was so thick I thought it was smoke from a hidden bonfire. Once in the water, gilded terns flew over us, and the temperature was noticeably warmer — too cold to be cool, even, but warmer than early spring. On the way back to the bank, the sun reached through the trees in misty glowing fingers onto the surface of the river, and small fish leapt ahead of us. I said, stupidly, ‘Are we in a Disney film?’ Sumer is icumen in (just about), as they say. 

2. I always like Pop Culture Happy Hour, and I’ve really enjoyed their coverage of the Oscar nominations this week; firstly, for their recognition in Thursday’s episode of Best Song nominee ‘Husavik’ as the only contender that actually fits the brief, and secondly for mentioning today the sheer, visceral joy that is Tom Holland’s old Gene Kelly/Rihanna appearance in Lip Sync Battle. Two summers ago my instagram feed was just hourly screen grabs from this routine, which looked like I was having a breakdown but felt waaaay too good for that. If you know anything hotter, then, honestly, good for you. 

3. Speaking of Husavic, I imagine anyone who would watch Eurovision Song Contest: The Story of Fire Saga has already done so, but if you haven’t, may I recommend it? Over this strange previous year, it’s been a baffling bit of delight and comfort, the only film I’ve watched three times over the lockdowns, and an oasis of optimism and gentle silliness. Silliness gets such a bad rap, but I’d take physical comedy and magical elves any day over the po-faced dumbness of a Breaking Bad or a Killing Eve, programmes so convinced of their own holy importance that they end up as over-budget soaps. I gave up watching the real Eurovision when I quit twitter, but my goodness, the Song-A-Long still makes me beam every single time, and Husavic still makes me cry every single time. As for Dan Stevens’ Lemtov — he’s great. Utterly, utterly marvellous, heart-breaking and heart-warming at the same time. Is it a perfect film? No. But it’s perfect for now. 

4. I’ve never counted myself as a huge Patrick Kielty fan, but after listening to his Borderline stand-up special on Radio 4 a few weeks ago, I very much am. Whenever I brush up against the news I find myself panicking about how awful people can be, how countries turn against themselves, how civil wars happen, how we take peace for granted until it’s too late, how ridiculous divisions can be and the terrible, unnecessary price we pay for them. Patrick Kielty covers all this, in his 28-minute look at the Troubles, with wit and intelligence, grief and anger, but above all with insight and with hope. Please listen while it’s still available. 

5. I am old, Father William, as the poem doesn’t go, and it’s most noticeable when I despair at Radio 4 presenters. I really really really miss Sue Lawley and Kirsty Young, Mariella Frostrup and Eddie Mair — presenters who made me feel like there was an adult in the room. I’m all for Young People Having Astounding New Ideas, but sometimes it’s nice to make eye contact with people who have lived longer than a decent pair of shoes, and silently share the wistful memory of a time when it seemed that just believing in something could make it true, or useful, or correct, and things weren’t a thousand complex shades of right and wrong; or even better, have an adult express that feeling with clarity and grace. So I am old. Advantages: I can enjoy a great deal of time spent rearranging my seed packets, or finally learning some bird calls, or not being quite so swayed by fashion, or laughing. Disadvantages: the unstoppable march of time and the ever-chilling hand of Death. All this is to say: David Sedaris, in the passing of years, has turned more to the subject of death and ageing, and I love him even more for it. Like his most recent book, Calypso, his latest Meet David Sedaris series is full of gloom and endings, but somehow all with a lightness and humour that makes them thoughtful, rather than bleak. Another one ideal for this odd moment in history. 

6. The housemates and I have taken to only watching sub-90-minute films recently (see: unstoppable march of time). Shirkers is a wonderful slice of memory, loss, beauty, ambition and the power of young dreams; The Barkley Marathons shows human determination at its most pointless and yet most joyful; Rope beautifully displays James Stewart being the father I always wanted, and contains some of the most pleasing cinematography I’ve seen for a long time; The King of Kong is blood-boiling and ludicrous and well worth googling the aftermath once you’ve watched it; The Life of Brian has some questionable moments but even more hilarious and sharply-observed ones. ‘A touch of derring-do?’ ‘Ah — about eleven, sir.’ (Who can ever explain the mysteries of what any individual finds funny?) 

7. If you want to read my latest book in ebook, it’s out now, otherwise the paperback will be out in July. It’s not a hard read, but it is quite a nice one. 

1. The waters are so high that we are soaked mid-calf even before we get to the swimming spot, our feet freezing in our trainers, and we change, and wade in knee-high and suddenly I am terrified of stepping off the bank I can’t even see. It’s the coldest we’ve ever felt, we agree, and all thoughts of Wim Hof vanish from my mind as we dash almost straight out again, hooting and gasping. 

2. Richard Flanagan is very interesting on Open Book, talking about how we’ve ‘come to an end point of a certain sort of individualism’, and how some societies seem to be focused inwards, in a chaotic shuffle of self-fixated individuals, while others are focused outwards, each member understanding themselves to be a part of a community that needs each unit to participate. I’m sure there are benefits to each — perhaps an individualistic society enables more leaps in developments and creativity? — but in tandem with Adam Curtis’s interview on Kermode & Mayo’s Film Review in which he discusses the idea that we’ve forgotten to dream about the future, it’s clarified why aspects of our current society make me feel so drained and low. 

We have plenty of dystopian visions, Curtis says, but apparently so few plans for how we might make things better, since everything can seem so insurmountable. Shortly afterwards a friend sends me an uplifting poem about learning to love yourself and fuck everyone else, and we discuss that the first part is so important, is vital to empathising with others, but the second part is a message on which we need to turn the volume down, that life is about compromise, and doing things we sometimes don’t want to; that you can love who you are and still quieten bits of yourself momentarily for the good of society; that there is a wide, wide gulf between being an abuse victim and having to do things that aren’t in our perfect day, and yes there are plenty of grey areas and difficulties and most people don’t have free choice about doing things they shouldn’t have to do and don’t benefit them in the slightest, bar just keeping them slightly alive, but my god, self-care has been joyfully co-opted by capitalism because if we’re caring about ourselves we’re a) not thinking of others, so we can’t unite to make meaningful change en masse, and b) we’re giving our money away for more shit that’s destroying the planet and filling our homes and distracting us from the hard work of discussion, and questioning, and listening, and learning, and apologising, and uniting with people with whom we might disagree. I remember the feeling of righteousness on twitter at the start of the 2010s around turning our backs on people when we thought they were morally wrong, be it about Brexit or general elections or shopping choices or careers, but I think I may only be left with my magical electric blanket if I solely hang out with those who agree with every single one of my strongly felt opinions. I am trying to ask more instead, and to listen. (Speaking of which, this is a hopeful episode of Cautionary Tales, featuring an extract from Tim Harford’s latest book, which suggests that curiosity is the glue that will bring polarised groups back together, and allow forward action to occur.)  

3. I talk with a friend in advertising about a report that shows our culture at the moment is in a left-brain phase of its cycle: our music is dull and catchy and repetitive, our books middle-of-the-road, our visuals the same safe social media shades and shapes, our celebrities and interviews flat and PR’d to an inch of their bland lives (I miss Popworld so much, and this interview with Miquita Oliver is great), our adverts literal and unimaginative. For all the progress we’ve made in some areas, it makes me want to watch half an hour of weird 90’s ads, like this and this and this and this and this and this and this and this. 

4. Speaking of gaming, I’m so strongly not a gamer that I feel second-hand embarrassment for adult gamers — something I’m fully aware is ridiculous, hypocritical and utterly unnecessary — but this beautiful podcast, Unplayable: Disability and the Gaming Revolution, had me crying like a tiny baby. Good on everyone who works to make the world better. 

5. I’ve been reading this recently, which is so very good (besides the usual compulsory every-five-pages typos which seems to be the norm with some big publishers these days, and makes me weep for the author) and in googling some of the shows mentioned in it found this interesting Salon piece from 2011 about Galliano and what happens to someone with effectively limitless power in their field. It also contains this line, which if I was a hacker/dickhead I would leave in place of all current Instagram pages: “The Tibetan Buddhists view grandiose self-regard as not just a poor way to live and horribly embarrassing, but as a klesha: literally, a poison.” 

6. This week I made this marmalade, and these lamb meatballs, and this exceptionally easy lemon ice cream. All are 100% worth it.  

7. After a small Imbolc feast, one housemate asks if I want to do some Lego, and I am so flattered by the invitation that I do, and we build the ground floor of an excellent house, including swimming pond (complete with octopus) and a kitchen table littered with ice lollies. As we work, we listen to the lockdown playlist I started collating almost twelve months ago, and I discover that the housemate now knows most of the words to TLC’s Waterfalls and Florence + the Machine’s Jenny of Oldstones and Elton John’s Tiny Dancer and Buzzcocks’ Ever Fallen in Love, and, while waiting for me to finish one section of the house, sits and solves a Rubik’s cube over and over again, and I feel the luck of it fill up my whole torso until it almost tips over into panic. 

1. It’s the first time that, even with neoprene gloves on, my fingers become frozen within seconds. The water is cold enough that we had to crackle through the frozen swollen edges before easing down into the river itself, and although I recite the winter swimming mantra within a stroke or two (‘Hey, it’s not too bad’) both hands are already sharply cold to the bone, and dressing afterwards takes a lot of huffing into cupped hands to allow me to do up my laces, stuff everything back in the bag. It’s been worth it, this winter, ditching my wetsuit jacket and just swimming in summer kit of running leggings and sports bra — I like a lighter backpack, and the sense that I’m really feeling the cold of the water, as much as I feel the warmth in June and July. And this winter in the river has given us so many pleasures already: the Geminid meteor showers filling the still clear sky in mid-December and reflecting in the water; a shooting star streaking across Christmas morning, in a silent dark rushing world empty even of the usual occasional early worker; a New Year’s Day hushed gathering, knowing at any moment such a cluster would become illegal; floods that mean we wade shin-deep towards the bank edge, and lower ourselves into the small bay, swimming hard to stay in place against the current. 

This morning we run back through hard, bright snow, our footsteps loud, my feet numb. I run to my waking house down a street where only a handful of months ago I would circle the block on my bicycle, round and round and round at this same hour, the light pink and orange, the doves and pigeons cooing at my damp hair, the air already warm enough to send me back to sleep, not wanting yet to wake the house, not wanting yet to end this coral-coloured silence. 

2. The main soundtrack of the last year has been John Finnemore: either his Souvenir Programme or Cabin Pressure, at least one of which is playing at any given time in the house on any given day. Between him and Kate Beaton’s comics, I feel like at least the housemates are getting some education in classics, history, politics, literature, geography, and comedy. When not molding impressionable minds with my own tastes, I’ve been listening to Tim Key’s Late Night Poetry Programme and In and Out of the Kitchen on headphones, escapist little windows into a different life. Diverse my listening may not be, but brilliant, amusing and comforting it very much is. 

3. Can I recommend this particular episode of Reply All? I very much like Alex Blumberg’s clear and constructive riposte to Alex Goldman’s climate defeatism: we are not done yet, but there’s hard work to do and we need to crack on. Hope may be tiring, but it exists for a reason. Speaking of which, this episode of Soul Music is food for the spirit. 

4. A housemate has made this a few times since receiving the Simple book for Christmas, and my goodness it’s good. 

5. I hope you’re all well. Keep writing to your MP about environmental concerns, NHS concerns, schooling and jobs and housing and the flawed legal system and data collection and employee rights and all of this country’s major inequalities. Courage, mes braves. x

How are you? I wish I had something more incisive to greet you with, but the speed with which everything occurs means it would be irrelevant, distasteful or a viral punchline a few hours later. 

I have been to the cinema for the first time in six months, and continued my regular habit exactly where I’d left it by attending a first-thing-in-the-morning screening of Tenet with only one other person in the cinema, sitting miles away and also on their own (the only way to watch a film, I say). Fucking Tenet, though. I mean, I have really missed going to the cinema, partly because I love films and partly because there’s such a small-scale decadence to occasionally going there solo at 10am on a Tuesday morning, and those tiny pleasures (which, of course, are currently no longer tiny) are just the things to keep me going.

But the film. Oh god, the film. I wish… I wish I could collate my thoughts into something which doesn’t just rapidly descend into a frustrated scream. I wish success didn’t mean people couldn’t say no to you. I wish I liked Nolan’s Batman films, for a start, since so many seem to get so much from them (see also: Breaking Bad, Killing Eve and Line of Duty), but I’ve always found them silly, really dumbly written, and badly made — I can’t hear much of the dialogue, and the action sequences are frequently shot with so many cuts and movement that’s it’s impossible to follow, something George Miller could teach him about so beautifully — and they’re so bloody solemn. Gotham is a grim place, but there’s a boring pomposity in fetishing that one-note grimness, and Nolan has it nailed. Having a character genuinely laugh at something doesn’t render your film light-weight; it creates contrast, and human engagement, something these serious (but sci-fi)/serious (but fantasy)/serious (but adult man dresses in a cape) films too often lack, as if a strained, one-note way of speaking will cancel out the frivolous, actually enjoyable genre aspect of the film. 

That lack of humanity is shared by Tenet. After a certain point, I simply don’t care. Is the nuke going to explode before Batman can something something something? *shrugs* Will the Tenet team manage to stop some sort of bad thing happening? Yes? No? Don’t mind, fine either way. Is Tenet nice to look at? Yes, but in a sort of “Christ, are we still holding up billionaire oligarch lifestyles as an aspirational thing at the moment?” very pre-2020 mood. Does it make sense? No, but that alone doesn’t mean it isn’t good — some great films, and some great Nolan films, take several goes to fully enjoy, and some are more enjoyable with every watch. Do I give a single fig about the outcome of the film or for any character after 20 minutes? Nope.

One major issue is that Nolan has made Inception, a masterpiece of film-making meta-commentary. How, once you’ve watched Cobb and Ariadne discuss the leaping-about way of conversations in films/dreams (stopping and starting in completely new locations) can you take the same thing seriously between Neil (Neil. Neil.) and The Protagonist? (I would like to see how many women read this screenplay along the way and just gave a small, inner sigh at the main character being named ‘The Protagonist’.) As their boring expositional chats chop between pavement and public transport and plaza, one can’t help remembering how well Nolan previously pointed this out, yet has reverted to that self-conscious device to no benefit at all. It’s like he’s never seen his own films.

Similarly, the much-lauded aeroplane scene is completely without the necessary ingredient of tension because we’ve already been shown what happens, not just in other films but in this one, about fifteen minutes before. It’s like Bill & Ted promising they’d do whatever it was they needed right now, but in the future, and their momentary problem being solved by a loose sense of timey-wimey future self-ness. There’s nothing at stake at the airport, and between us being shown what happens and the scene beginning, nothing has happened for us to even hope the mission isn’t completed. It felt like the criminally underused Himesh Patel was in an instructional video for fuss-free plane-borrowing; compare it to the similar scene in Casino Royale (perhaps the only modern Bond film worth bothering with) and the flatness and mechanical nature of Tenet is all too apparent. The twists of the film, such as they are, are likewise foreseeable for even the least Pauline Kael among us. Who could it be under the mask? WHO COULD IT POSSIBLY BE? 

The Prestige, an earlier film of Nolan’s, is such a contrast to this that I’m stunned I didn’t watch it the moment I came home to clear my brain out. It’s smart, logical, moving, tense, engaging, and if there are plot holes (probably) I didn’t care because a) I really, really cared about what happened to each person, each of whom spoke and behaved like humans, not AI script-bots, and b) it gave this household a v useful shorthand nickname for anyone who wanted something one day but completely inexplicably changed their mind or denied it the next. I recommend it. I do not recommend Tenet. 

Of course, I feel guilty for caring so much about this, and writing about some fucking multi-squillion-dollar film with everything else happening. I am feeling extremely, crushingly ineffectual presently, and have completely come off all social media which from time to time would remind me of the efficacy of protest, of letter-writing and petition-signing and contacting one’s MP, so change feels hopeless and November’s blows seem inevitable. I am trying to knit my mind back together before then with small acts of body-work: cooking and running, drawing and swimming. I worry that I will drown in guilt and fear if I stop for a moment. It is pathetic, but I am still breathing, for now. 

My cynicism-filter is also at its finest mesh, because it cannot cope with the reality of our leaders and the UK’s political discourse: only small-fry stuff gets through, the Sali Hugheses and Jack Monroes, small-time fantasists who manipulate and virtue-signal to build lives of back-slapping consumerist celebration and Twitter Power Leader Boards. I’ve listened again to The Purity Spiral, and also to Desperately Seeking Sympathy, and wondered how many intelligent, kind-hearted people waste time supporting these innocent, victimised mini-Trumps just because they use the right buzzwords and also appear to hate the Tories. 

I wish I could give you some of the lights in my heart that keep me going — the occasional pure moon-eating delight of the people I live with — but here are more feasible treats instead.

1. Mike Birbiglia’s podcast Working It Out is a treasure, particularly the first episode with Ira Glass, which I think everyone who works in a creative field will listen to and wish they had an Ira Glass to critique their work. I like the idea of documenting works in progress, and not carrying any shame when things don’t work yet.
2. The Rose Matafeo episode of The Horne Section podcast, because I love her and I love stupid and brilliant songs. Several housemates have discovered Taskmaster too, which makes this a nice bridge.
3. Sarah & Duck, the BBC programme for tiny children. We never really used kids’ TV when they were little, but this now functions as a salve for when we’ve watched something truly terrifying like Poirot or a Marvel film, and besides the fact that Duck is absolutely fucking hilarious, the animation is staggeringly beautiful. The Islamic geometric patterns of the garden hedge; the soft blue-green hum of the “glow” section of the library, filled with lamps and luminescent books; the motes of dust caught in the sun-rays of Scarf Lady’s window. It’s a balm. 
4. Thanks to two housemates becoming great cooks over lockdown, I’ve rediscovered lots of my cookbooks and found 2015’s Simply Nigella to be a real corker. The rice with sprouts, chilli and pineapple, the drunken noodles and the Thai noodles with cinnamon and prawn are worth the entry fee alone. It’s quite chicken- and pomegranate seed-heavy, but even if you don’t like those, it’s extremely nice to be eating something that isn’t on our usual five-meal rota (and is also extremely delicious).
5. I was solo for some of the summer, and managed to watch a few excellent films, including BlacKkKlansman, The Peanut Butter Falcon and Love & Friendship. Cannot recommend these highly enough (*whispers* particularly the latter because it’s as painfully sharp as Austen should be, and we’d made the mistake of watching Emma. and I’m still so cross I’m not sure I’m ready to discuss everything that was wrong with it publicly yet).
6. I read Esther Williams’ memoir, The Million Dollar Mermaid. Perfect for anyone who loves that period of Hollywood, and full of juicy (as well as some pretty traumatic) episodes from the swimmer and actress’s amazing life. To give you a sense of it, chapter one is called “Esther Williams, Cary Grant, and LSD”. Super good. 

I hope you all keep well, pals x

I’ve recently been doing some day-job work for a book about humanity’s future. Boy oh boy, did I need to do some very, very slow deep breathing and distant staring out of windows while reading that. It’s an amazing book, but sometimes my frustration and terror, at not only where we’ve got ourselves, but also where we are positioning ourselves for our next tomorrows, are very, very enormous. This book offers hope in the form of creativity within science which I think is a good possibility, practically speaking, but I wonder if we need more stories first, to tip our global, political and social focus. Stories to remind people of the hardships which have gone before when we’ve handed over control to those ruled by greed, fear, and hatred; stories to remind people that we all have a better time if we just try to share the fucking cake and not try to punch anyone who would also like some, please. Fewer stories about the shoes/vase/pillow/hat/protein powder/lipstick/sofa/storage solution to finally fill you with happiness. And I say that as someone who loves things, who very much wants rings and sunglasses, dog coats and plates, face creams and t-shirts and spatulas. But we just fucking can’t have everything we want, because – honestly, if we haven’t understood that yet, then what really is there to say? 

Is self-sacrifice the only flavour of tale that can change behaviour? Does it take someone losing something major, or risking something major, before people can feel or behave differently, rather than bubble-shaped lecturing bullshit like this? This was a remarkable episode of the excellent This is Criminal, covering the utterly inspiring and staggering career of Chicago TV reporter Russ Ewing, a man who endangered himself repeatedly to bring dignity and protection to black men and women surrendering to the corrupt police force of the 70s, 80s and 90s. Do we need more of these stories? Are enough people still willing to stand up for something, when they might be torn down for something completely different? 

Another interesting listen recently, on Purity Spirals – the examples within the documentary are deliberately innocuous-seeming, but the historical occurrences mentioned in this are well worth noting. It’s all well and good to pretend Cancel Culture is about speaking up and not letting Bad People Get Away With Things, but it doesn’t actually seem to be working, does it? Unless there’s a coherent moral code that your society agrees on (and of course we have neither one moral code nor one single society) then it’s just a lot of angry shouting and sharp jabbing, which – again, would love to know otherwise – doesn’t transform us into brave and self-sacrificing civil rights campaigners. But hashtag be kind isn’t an answer: it’s further gutlessness, because we’d (I’d) all rather be buying those scarves and trainers than not buying them, and then protesting outside offices and parliament, and writing piles of letters nightly to CEOs and MPs and investors, giving up time from scrolling through apps to engage critical thinking skills and hand valuable hours over to the hard work of social improvement. (The fact that I know people who do this makes it worse, of course. I have no excuse.) Abstaining from actively writing hate tweets to someone doesn’t lessen the wider destructive social effects of a) sitting on our devices all the damn time, and b) being continually fed the idea that consuming more and more is the only way to find meaning in our brief existence. And I don’t know how to unite my growing loathing of tech with the aforementioned book’s suggestion that we all need to be more science- and tech-literate to survive our future. So I’m improving at crosswords instead. 

One personal silver lining: I haven’t watched TV at all this year, barring The Great Escape during half term with one of the children – my mother-in-law and I got up at the exact same moment (when Bartlett and MacDonald board the bus) and left the room giggling with tension because neither of us can bear that bit – but now the child has learnt to mime picking something up off the floor five steps away when I say, “I can’t see a bloody thing,” which honestly is the best, and possibly only reason to reproduce. No TV has meant that I’ve read tonnes more so far, as well as enjoying all the Agatha Christie BBC radio plays I can find on youtube, and getting out for more runs and swims and all that jazz. I swam in the sea twice last week, near some seals, and fortunately survived with both hands intact. 

I promise I will write the bread recipe soon. I felt it was too hypocritical today, when I made the most beautiful loaf, with the most perfect rise, crust and crumb, and all because I forgot to put in the salt so it tastes of absolutely nothing. Tomorrow, tomorrow, tomorrow. 

What Is To Come

1. We do not know what is to come. We know it doesn’t look immediately good, or at all good if nothing changes – I mean! our free time is increasingly gobbled up by our all-connected devices, which harvest our thoughts and our data to strengthen the wealth and power of international companies! our wages are weak against our cost of living, with employment rights potentially being weakened further after our exit from the EU, so we do whatever we can to get whatever we can! we are encouraged to spend our leisure time side-hustling and girl-bossing because it a) gets us extra and b) reduces our time to think freely, so it’s encouraged as a positive thing by those who benefit from this! we volunteer to be sold to, constantly, relentlessly, as a hobby and a citizen, and those ever-growing companies are delighted because the more we want, the bigger their profit, and the more we want, the less we’ll fight for everything they take from us in return! inequality is rising! divisions are growing! we are all, in the words of Mitchell & Webb, looking like the baddies! – but the fact is this. Something has to change. 

It is literally not sustainable; either we go, or dramatic change must come; unfettered capitalism cannot maintain itself when soil is barren and air is unbreathable, I think; things will be bumpy, at the very least, and all we can do is hold on tight to what we believe makes humanity worth battling for. Art, and humour, and story, and discovery, and creation, and sharing, and forgiveness, and responsibility: community and togetherness, if you like, or privacy and peace, if you prefer. And of course those things have historically been used in dark ways sometimes! Of course everything has a middle path! And this isn’t even a recent thing, more a tipping point we’re at right now; in Matthew Sweet’s 2001 book, Inventing the Victorians, he talks of the Victorian era as a time when “crudely speaking, work patterns shifted from those following the rhythms established by families and communities to those timetabled by managements keen to optimise the productivity of their workforces. At the same time, traditional leisure pursuits were being undermined… There was a switch from locally-generated activities and community-based entertainments to increasingly officialised ones: national cricket and football leagues, public swimming baths dance clubs, museums, exhibitions, arcade games, ticket-only entertainment events.” I know, right. I know. So it’s not as if all Olden Days were a utopia – we’ve made progress in so many ways, and that’s the progress we’ve got to keep fighting for, that general direction of so many things, but we have to find a new way of fighting that isn’t going to end with the whole world blind. 

And it is necessary to remind ourselves somehow, somehow, that our children don’t need iPads as a human right, and maybe we’re all doing ourselves more favours if we remember that adults also need to go for walks, or make bread from scratch, or listen to something positive on the radio as a group, or discover more about our local trees or birds, or learn to sing a song together, or make a zine, because not everything has to have a goal of building a career or becoming a giant success or being acclaimed, sometimes just doing something quietly is great, and yes, I also know that some people don’t have the time to do those things, the freedom, or the headspace but my god, what are we doing propping up a society where almost everyone I know logs several hours a day on their phone, minimum, but we don’t have time to make eye contact and volunteer and actively be with people, rather than just tapping our screen and being “connected”. What is it we truly need? 

A v gloomy recent Salon piece which, honestly, I can’t even link to here because it set off heavy panic in me, did at least end with some useful suggestions, about actively being with people, and attending marches and writing and creating, because staying online basically just makes us all melt down, and who is a better consumer than a panicking, deeply unhappy one? “Action is the answer”, it said, because those people and organisations that like complacency and an easily controlled populace rely on our inaction. 

So please, please, please. I want so much better for the future of humanity. Please share the actions we can take. Please put your devices away and give yourself the gift of a life unlogged. Please work together for change. 

2. Most of this all came about because January was spent without a TV, but with plenty of books, running, radio plays and puzzles (both jigsaw and -book versions) instead. I was struck as I always am in these instances, how much better I feel when I’m not mindlessly, automatically slumped in front of a screen, how valuable and rich my hours seem, how many more thoughts I have, how much more varied my input is, yet how much calmer my brain is. (Having said that, I did miss my usual Mad Men January watch, because it is the best television ever made, and also because the crippling January depression I usually get didn’t come this year; and I do still want to give everyone access to the Watchmen TV series, which I watched at the end of last year and haven’t been able to stop thinking about, and I have also been to the cinema four times since the start of the year, and also stayed up one night watching all of Adam Driver’s SNL sketches on my phone which yes, is very much a cheat, and no, I don’t regret it.) I understand the gross lolling privilege of my position recommending bread and Radio 4 as the cure for all ills, but I suppose my point is that we should have the freedom to choose those things if we want them, and I believe our economy, our society, and our deliberately addictive technology undermines both the chance to make those choices, and the ability to make them. 

3. Some podcast recommendations: 

• Two excellent episodes of Desert Island Discs: Daniel Kahneman (who said his passion for economics developed from listening to his mother gossip, and understanding the power of narrative) and Lemn Sissay (I think I’ve recommended this elsewhere, but it keeps popping into my brain and I love it) 
• This episode of Heavyweight, which generally always makes me cry, but this tale of soul mates divided — or not? — is, somehow, both devastating and utterly beautiful and warming. But really, every episode is brilliant. 
• While I disagree with lots of what he says, this episode of Seth Godin’s Akimbo is quite interesting, on the Gift Economy as an alternative to the Private Property Economy. 
• I love Jenny Slate’s description of her twenties as a ‘surprise second adolescence’ in this episode of the sadly defunct The Cut on Tuesdays. That’s so accurate, and it’s staggering looking back that as twenty-somethings we are just let loose in the world to work and breed and live alone and vote and everything. We don’t know anything! I’ve been thinking so much about how we find the balance between fresh, new, innovative ideas to kick against defunct traditions, and ceding an ear to experience and wisdom. Old people aren’t always wise, I know, and young people aren’t always inventing the newness they think they are, but I see more and more the importance of experience and the dangers of binning something because it comes in a particular package. (I know I am entering middle age because I’ve started rolling my eyes at some of the drums I see teens and twenty-somethings banging. Please don’t invite me to your parties, I wish I was more fun.) 

4. Next time, I promise: recipes for sourdough starter and a sourdough loaf, and a blood orange cake that will blow your mind. 

Please do vote on Thursday. 

I believe the most important things in a functioning society are qualified and experienced medical and educational staff, and access for all to healthcare, schooling, legal support and protection, jobs, and homes. Protection for the unlucky, support from the lucky. An awareness that no man is an island. And, of course, doing everything we can with experts in science, agriculture, planning and production to ensure we all have air to breathe and water to drink in the coming years. 

(Quick reminder that unchecked capitalist market forces give us: massively increased inequality, terrifying power differentials, dangerous misinformation, fear and division, and a dying planet. Would be delighted to have long chats about this with anyone as would love to learn more about counter-arguments to this. As William S. Preston, esq. said, ‘Be excellent to each other.’) 

Over the summer, my quite-old-but-not-that-old phone ate all my text messages and became almost thrillingly unreliable. Ever since then, I pick it up not with the usual subconscious rat-excitement, but with something like dread — it’s so clearly an addiction to something which, beyond podcasts and the camera, offers me far more hassle than pleasure or use, as is the way with anything one becomes addicted to. (Oh, and maps, occasionally.)

I absolutely loathe it, and once I’ve submitted this current big project, my next fairly dull task will be to try and wean myself off it almost entirely. Keep it in the office, plug the landline in somewhere more accessible and use that more, not have to check before I leave one room and walk into another than my phone is in my hand. God, it’s horrible. (Yes, also, music on the phone, also good. Christ.)

I realised the other night that my own anxiety and weariness comes from a sense that absolutely every choice I make these days feels like a battle for my soul. (Ugh, and the period-tracking app is useful. UGH.) It doesn’t feel like merely existing, it feels like living, heavy with some kind of extra-gravitational moral weight: did I turn off the lights/should I turn on the heating/is this food environmentally damaging/can I recycle this/are the children growing up to be vocal about the right things/but not so vocal that they increase division in society/it feels right to keep them off the internet/but will they be prepared when they are free-range on there/it’s great they’re all keen readers/but modern popular children’s books are almost universally awful. This isn’t parenting, or being an adult. This is living in an era where we are facing mass extinction either through climate change or mass conflict, fuelled and fired by those agencies which benefit from conflict and fear: arms manufacturers, politicians, media companies, product-makers, internet figures fashioning themselves into products.

If you are the product, what does that do to your soul? If your daily life, your family, children, friends and colleagues are the backdrop and the context for your self, sold and packaged to consumers or employers, do you gain more than you lose? If your most passionate conversations and throwaway jokes are all equally public, equally up for scrutiny, how does that ensure a fair life for you? If everything you ever say can come back and bite you — my primary reason to wish all children and teens weren’t ever allowed to say or write or do anything on a screen — how does that shape your life?

If you are a female MP, trying hard to improve lives around you, do you deserve to get hundreds upon hundreds of messages describing brutal sexual assault and violence against you and your family? You’re a public figure! That’s the price! If you’re a beauty journalist, having months of harassment and bullying by vicious internet trolls, how do you find the strength to speak up in a moving instagram video?

But. What if the source of that latter bullying seems to be — unless the source mentioned was not correct, unless something else is going on, which is of course more than possible, because nothing can be trusted on the internet — fairly calm critiques of your working practices both on- and offline? What if the trolls who have attacked your children in fact only mentioned them once, in the context of you promising never to use them in your social media? What if those board users were asking questions about your transparency and correct use of Ad and Gifted tags, and only when you set the internet against them does that board start screen-grabbing your own systematic and extremely public bullying (sometimes over long, long months) of other women in the media, attacking their looks, abilities, work and parenting? What if all your friends suddenly start deleting their old tweets (as you have already done) because your accusations have shone a bright light on a forum that at worst, matches tonally exactly the conversations you and media friends have on twitter, and at best are supportive spaces discussing dementia, cancer, cleansing routines, and their own experiences of bullying and unpleasantness at the hands of blue-tickers?

How does that make those female MPs feel? How does that make the women and men, boys and girls who have been harassed, doxxed, bullied and intimidated feel? I wonder what that does to your soul, when every mistake is so public? 

Running to the river now is in the dark; even when we climb out we do so by torch light. I hope you can all find something like this for yourselves, something calm and quiet and personal and fulfilling.

I come home and peel off my cold wet clothes, and look forward to more moments without my phone. 

1. I really, really loved this essay on introducing hope back into a nihilist world. It captures my own struggles with the messiness of everything – if this, then that, so which is worse? – and how everyone seems to be struggling with genuine, literal existential crises. But hope! And weight-lifting! I’ve been doing weights since the start of the summer and every time I lift it’s like a fucking joy injection. If you can start lifting heavy stuff, I massively recommend it. 

2. I want to post a link to the Pop Culture Happy Hour review of Todd Phillips’ Joker film, but I also want to be a better person than that, so I won’t. But Ready or Not is great fun, so maybe watch that instead! 

3. Here are some excellent children’s books series, if you want them: The Dark is Rising series, His Dark Materials, The Murder Most Unladylike books, The Sinclair’s Mysteries, the Tiffany Aching books… is that it? Always looking for more suggestions if you have them, please. 

4. Next time I get an invoice paid I am 400% getting this for the pup. The cold is mean to these feeble, speedy hounds. She is extreme excite. 

The river was cold this morning, although my leggings are thick enough that I didn’t realise until I was rib-deep, by which point I had to start swimming as hard as I could back and forth across the river while the others got in just to keep the blood flowing to my hands. Neoprene gloves and socks will be needed soon, sooner than we’d all hoped, I think. But I don’t mind that cold yet, when we pay that to enjoy silent herons overhead, a still dawn, and ducks beside us, unseeing of their company until a dog runs by on the bank and they flap away, naark naark naark. 

I found a chunk of Richard Hoggart’s The Uses of Literacy when I was tidying my room recently, and he foresaw so much of our current cultural situation – TV and film and music and books as comfort, as trash, as distraction, as manipulation – that I am forcing myself to be a tougher reader, viewer, listener. I can’t bewail the kids liking Pokemon (fucking Pokemon) (…*Pokemonnnn*) but then watch only those things that make me feel safe and amused, never challenged or horrified or upset. I mean, as with everything, it is grey areas, and middle grounds, but I can’t live forever in a Michael Schur-flavoured cloud of good faith and optimism, however vital I believe those to be. I also need to absorb and contain those truths which are less pleasant, because that’s what all of us need to face right now, to be able to think about, and talk about, the hard work we can do to right those wrongs. 

Speaking of which, this excellent old episode of Desert Island Discs was repeated on my feed recently, with Judith Kerr. Her story is devastating for what she escaped, for how narrow the escape was, for her remembrance of all those who weren’t as lucky, for her gratitude and positivity after everything. I tried to sing along to her choice of Bud Flanagan’s Who Do You Think You Are Kidding Mr Hitler as I made a packed lunch for school this morning, but I started crying halfway through. How are the children not used to my collapsing weeps, yet? It’s a wonderful episode, though, with wonderful music. And (I think) I want to know what makes a country fall to fascism and what makes a country fight it, and welcome in refugees with genuine open arms, not imprisonment of children and exploitation of adults; what makes our better impulses stronger than our worst ones. 

And speaking of that (and Michael Schur, actually), as part of my ‘making myself read things when even the headline terrifies me’ campaign this is very good: “The End of the Roman Empire Wasn’t That Bad”, in which James Fallows discusses how when governments fail to function as they should, community government often picks up the slack, helping people around them on a day-to-day basis to access homes, education, healthcare. One interviewer “suggested the situation was like people fleeing the world of Veep — bleak humor on top of genuine bleakness — for a non-preposterous version of Parks and Recreation.” So that’s nice? 

Finally, speaking of things that make me feel safe and amused, I got up this morning with actual intercostal pain from how much I laughed at Stath Lets Flats most recent episode last night. (I had tried to watch the series before and hadn’t even lasted through the first episode. We watched the whole of the first series in a couple of nights this summer at my second attempt, and my GOD it’s brilliant.) If you watch them all, and don’t find the closing line of ‘A Battle of Our Lives’ funny enough to make you laugh through the whole credits, and then again every time you remember it, then please find something that does because it’s such a great feeling. 

1. The Uses of Literacy here – staggeringly, written in 1957 and as searing as ever. Perhaps writing something about it in October will be my reward for meeting my big September deadlines.  

2. Sue Lawley talks to Judith Kerr on Desert Island Discs here. 

3. “The End of the Roman Empire Wasn’t That Bad” here, which is genuinely worth reading before you gather your spirits about you and sashay into helping people locally, however you can. 

4. Stath Lets Flats, which, truly, is the gift that keeps on giving (and this review, while it does describe many of the best jokes, also captures much of what makes the programme so very, very excellent.) CLAP, YOU BLOODY EGGS