Down the road, a race to the stars: nuclear fusion

Creating nuclear fusion, the energy of the stars, takes much more than fireworks…

At a time of ongoing political uncertainty and division, it was good to spend an hour sitting in a crowded lecture theatre in Abingdon hearing about people who are aiming for the stars – or rather, aiming to recreate and harness the energy of the stars. It’s a quest of mythic proportions, with a prize at the end that could change all our lives if only someone can win it: a source of fuel that is clean, safe and abundant. Nuclear fusion is potentially the solution to mankind’s energy needs. And it’s eminently possible that the moment at which it becomes viable will happen just down the road here in Oxfordshire… though as with all quests, there are plenty of obstacles to be overcome first.

Nuclear fusion is the energy of the stars – it’s the process by which the sun generates the light and heat that makes life on earth possible. It’s also how all the heavier elements in the universe were made. There are several projects around the world that are exploring ways of managing and controlling this process, and Oxfordshire is a hotspot for research in this area. When I saw that ATOM, the annual Festival of Science & Technology based in Abingdon, was to include a talk about the subject, I decided to go along and find out more.

The lecture was held at Our Lady’s school, and it was packed. Alan Costley, who has been working in the nuclear fusion field for 45 years, explained how nuclear fusion works: two atoms are brought together to make a bigger atom – plus energy. However, very specific conditions are required to make this possible, in particular astonishingly high temperatures – ‘fusion temperatures’ of 100 million degrees, hotter than the centre of the sun. Unsurprisingly, this has been challenging to achieve. It was first done around 1965, and successive attempts have got ever closer to the line where the experiments will achieve ‘positive energy’ – where they generate more energy than is put in. At that point, you have a potential fuel source. Apparently, for decades, this positive energy moment was said to be 30 years away. It’s now thought to be five years away.

IMG_2414So who are the players in the nuclear fusion race? There is a huge project backed with multinational state funding, ITER, near Aix-en-Provence in France, where it occupies a 1.5km site. Pictures of the project under development reminded me of the days of early computing – the scale of the machinery, the complex assembly of components. The history of such largescale science projects is, unsurprisingly, marked by delays and overspends. Engineer Rob Manning, who lead the project to land a spacecraft on Mars in the 90s and noughties, was quoted as saying ‘The more money that is invested, the less risk people want to take.’ The result is that projects take longer as caution is built into the designs so as to avoid the danger of costly failure and the waste of public funds. To put it another way, big projects can be slow because they are too big to fail.

What about the nippy new kids on the block? There are several smaller nuclear fusion projects around the world that are supported by private investors, including ARC (Affordable, Robust and Compact) at MIT in the US, and, also in the US, Tri Alpha, and LCP Fusion, which was crowdfunded. There are also two projects in Oxfordshire: First Light Fusion and Tokamak Energy, at Milton Park.

What’s a tokamak? It’s a Russian word (this area of technology, though now the subject of international cooperation, emerged out of the Cold War) and it is a machine in which nuclear fusion takes place – it’s like the engine component of nuclear fusion. OK, here’s the science bit. You thought there were three states of matter, right? Solid, liquid and gas. But at very high temperatures, there is a fourth state: plasma. A tokamak traps plasma in a doughnut-shaped vessel with magnetic coils, and keeps it hot enough for long enough for fusion to occur.

When you’re on a seemingly impossible quest, you need game-changers. At Tokamak Energy, the game-changer is superconductors – materials that have no electrical resistance to currents, so you can keep a current flowing through them for a long time without them overheating. The scientists at Tokamak Energy are also working on making tomamaks that are a slightly different shape. The aim is to create slightly smaller, cheaper machines and to speed up progress towards that positive energy moment when nuclear fusion power becomes a reality.

It is the hallmark of good science communication that everything makes sense at the time – this lecture was definitely an example of that. I hope I’ve done it justice. You can find out more from Tokamak Energy and at @TokamakEnergy. The ATOM Festival of Science & Technology 2017 took place in Abingdon at the end of March, and included lectures on everything from the search to extraterrestrial life to stem cell medicine, self-driving cars and the forthcoming solar eclipse (21 August 2017). Find out more from @ATOMSciFest.


Anger and disbelief as parent campaign against school funding cuts gathers force

school funding cutsYesterday I went to the Fair Funding for All Schools meeting at Larkmead School in Abingdon, and came away shocked by the cuts to funding per pupil that are on the way over the next four years. It’s a double whammy caused by the new funding formula and cuts to real term funding per pupil (which breaks a manifesto promise). There is a lot at stake: funding cuts are likely to affect numbers of teachers and teaching assistants, and the range of subjects offered, particularly music, visual and performing arts, design and technology and languages. Support for vulnerable students is also at risk and small schools in rural areas are likely to be hit particularly hard. It’s a cross-party issue – the meeting was chaired by the Conservative leader of Oxfordshire County Council, Ian Hudspeth. (Funding per pupil is set at a national level.)
However, there is plenty we can do about this. The Fair Funding For All Schools website has lots of info plus a template letter you can send to your MP. Also, we have county council elections coming up in May, so it’s a good issue to mention on the doorstep if anyone comes round canvassing for support. Here’s the School Cuts website with details about how much individual schools across the country are set to lose and the Fair Funding For All Schools FB page – there’s also an Oxfordshire FB page.
Yesterday night was the first meeting of the Oxfordshire Fair Funding for All Schools campaign  – the first meeting was in Haringey and the second in Wokingham, where I grew up. The Oxford Mail reported on how Nicola Blackwood MP has joined calls for a review of the funding formula, while the chairman of governors of Larkmead School has left the Conservative Party over the school funding issue.

Ten reasons why I love the UK

Port Meadow, Oxford
Port Meadow, Oxford

This is a partisan, personal list, and we may disagree on some or all of it – but politely, as if over cups of tea and slightly limp cucumber sandwiches at a summer fete in the country.

1.       TV.

When I was little I lived overseas for a couple of years, and one of my first and most vivid memories of coming back to the UK was of the TV being turned on in the living-room and stuttering into life. Yogi Bear! In English! It was such a treat to see telly in my own language. That’s when I really knew I was home.

And British telly *is* pretty good, no? Special mention here to the BBC – when’s Poldark coming back?

2.       It’s home.

Back in the UK, a six-year-old girl at the beginning of the long summer holidays, I was a little lonely perhaps, but happy: on the swing in the garden, washing and pegging out all my dolls’ clothes, walking along with one foot on the pavement and the other on the road.

I’d like to travel rather more than I have (I haven’t used my passport since 2004, ahem), but I’ve never wanted to live anywhere else. Actually, I’d be quite happy to spend the rest of my life in Abingdon. Bury me in a corner of an English field, or rather scatter my ashes, (not yet awhile though please), to paraphrase Rupert Brooke:

A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam…

my son walking towards the view at Wittenham Clumps, Oxfordshire

3.       Language, literature, books, the sound of spoken English.

English is a malleable, stretchy, melting-pot language, a glorious mishmash of traces, inventions, leftovers and borrowings, like a falling-down town with ancient stuff buried underneath its foundations and skyscrapers snaking their way up to the light.

I love that Shakespeare just made up loads of words. Incarnadine? Why not!

Though the greats always look back as well as forwards. Auden’s The Wanderer opens with a homage to Middle English: ‘Doom is dark and deeper than any sea-dingle.’

See George Orwell’s essay The Lion and the Unicorn for some brilliant stuff about ‘something distinctive and recognizable in English civilisation’, ‘a culture as individual of that of Spain’: ‘somehow bound up with solid breakfasts and gloomy Sundays, smoky towns and winding roads, green fields and red pillar-boxes’. OK, so that’s about Englishness in particular and this is not, but he puts the kind of thing I mean a million times better than I could. ‘The suet puddings and the red pillarboxes have entered into your soul. Good or evil, it is yours, you belong to it, and this side the grave you will never get away from the marks that it has given you.’

4.       Humour and irony.

The Goon Show, Blackadder, The Office, Stewart Lee… take your pick.

Here’s the end of Stevie Smith’s The Hostage:

Well I don’t you know, said the lady, then aware of something comical
Shot him a look that made him feel uncomfortable
Until he remembered she came from the British Isles,
Oh, he said, I’ve heard that’s a place where nobody smiles.
But they do, said the lady, who loved her country, they laugh lke anything
There is no one on earth who laughs so much about everything.

Well I see, said the Father, the case is complicated.
I will pray for you, Daughter, as I pray for all created
Meanwhile, since you want to die and have to, you may go on feeling elated.

5.       Tea and a slap-up fry-up

Ironically (see 4) one of the best slap-up fry-ups I ever had was in New Zealand, and boy, did it remind me of home (see 2.)

6.       Gentleness (especially towards children and animals)

Not for nothing did Dickens, who knew how to work a heart-string, have Oliver Twist ask for more, and Bill Sikes mistreat his rather horrible cur.

Now, I know this point is debatable (like all these points, like any point), especially as, historically, the English in particular had an awful reputation on the Continent for cane-crazed schoolmasters. Our laws on corporal punishment were pretty shonky right up until the 90s, when they were shaken up by the distressing case of an eight-year-old boy who had been beaten by his mother’s partner with a three-foot garden cane. Under UK law this was judged to be ‘reasonable chastisement’. The case went to the good old European Court of Human Rights, which ruled in 1998 that it wasn’t reasonable after all, and forced a review of UK law. (Here’s the European Convention on Human Rights – a fine list of fundamental freedoms, in my view – including the right not to be subjected to inhuman or degrading treatment or punishment.) There was a predictable hoo-ha in the newspapers, which turned the consultation on how best to amend UK law to protect children into a fuss about how the Labour nanny state wanted to criminalise parents for smacking their kids (it didn’t – but never let the facts get in the way of a good story).

I remember this case because I was working for Nursery World at the time and reported on it. There was a potential impact for childminders, in terms of whether they would be allowed to smack children they were looking after (this was finally banned in 2003).

Gentleness. It’s a fine quality. I bet Robin Hood’s sidekick Little John (who of course was not little) was gentle. With animals and children, when not sorting out baddies with his quarterstave.

7.       Music.

Primarily, but not exclusively, of the popular sort.

8.       Individualism, eccentricity, anti-authoritarianism, inventiveness.

I do not think we (we=the residents of the UK, in all our various glory) are instinctively an especially deferential bunch. Perhaps it is the luxury of long-ago Habeas Corpus that gives us the freedom to be relatively unafraid, and to nurture a certain scepticism about the competence of those in positions of authority. Especially when enjoying the freedom to speak our minds, in or out of the privacy of our own homes.

9.       Landscape.

childhood time in the countryside
off to collect eggs with my grandmother in Wales, c. late 1970s

The UK is a big place in a small space. Soft rain on Welsh hills, Cornish palm trees, the vistas of Oxfordshire, the spine of the railway line that rattles you up to Scotland: and London, home to the Mother of all Parliaments.

Here’s the end of Rosemary Tonks’ poem Farewell to Kurdistan:

… Life is large, large!
… I shall lie off your loaf of shadows, London;
I admit it, at the last.

I love to be on the top deck of a London bus/in a taxi going through London at night/on the South Bank/in a London pub/oh, I could go on and on…

10.   The weather.

In particular, the skies. It’s a good land for clouds.

PS. Not that it’s directly relevant – given that it’s not a referendum about whether you love your country or not – but I’ll be voting for the UK to stay in the European Union. I know a fair few who won’t, though. Fair play. Am not going to get steamed up about it. Most of us want the same things, the world over: peace, decent houses, schools, roads, healthcare and working conditions, and a safety net. As Jo Cox said, more unites us than divides us. We just sometimes disagree about how to get there. Hopefully we’ll muddle through whatever happens, and if not, well, see you in the workhouse, where no doubt we’ll be assembling gismos for multinational corporations.

Maybe one of these days I’ll get round to writing a blog post about why I love Europe. Because I do, even if I haven’t left the UK since 2004. (Just as well I’m happy here.)

drinking hot chocolate in Café Flore in Paris, sometime in the last century

PPS. Probably if you go back far enough almost all of us have a few refugee ancestors. Mine include some French Huguenots who settled in Spitalfields, I believe. It’s all a bit hazy, though.

PPPS. The European Convention on Human Rights took inspiration from the Universal Declaration of Human Rights, which Eleanor Roosevelt played a huge part in getting drafted and agreed and which Pope John Paul II called ‘one of the highest expressions of the human conscience of our time’. Eleanor Roosevelt’s legacy also includes one of my favourite quotes, which is commonly attributed to her: ‘A woman is like a tea bag; you can’t tell how strong she is until you put her in hot water.’

PPPPS. I forgot the NHS!

More about places I love…

The After I Left You tour of places in Oxford I love

Why I love Cornwall

Off-grid: Greg Rook’s paintings of a post-apocalyptic Good Life

Off-grid paintings by Greg Rook

What would life look like stripped of technology, in a possible post-disaster future? That’s the question posed by Greg Rook in his atmospheric and rather ominous Off-grid series of paintings, which you can see at the Aldridge theatre in Farnham till 10 December.

One of Greg’s inspirations for these paintings was The Good Life, first broadcast in 1975, which seemed to embody the ideals of making-do and self-reliance, and suggest a possible future in which these values would triumph. Or would it? He describes the Off-grid series as ‘mock heroic paintings of our past potential futures’. They’re a reinvention of 1970s ideas of what might lie ahead, but also draw on off-grid movements and communes of today and of the past.

Apparently prepping stores (where you can get everything you need to survive an apocalypse) are commonplace in the US and are on their way over here. Is this the kind of future their client base is imagining?

Greg Rook's Off-grid paintings

Eagle-eyed readers of this blog will remember that I once went to an earlier exhibition of Greg’s work on this theme – his Survivors paintings. I asked him what he thought he might end up doing if he lived in the kind of commune he had portrayed. He said he thought he’d probably be a terrible survivor, and went on to predict that men in particular would fall prey to strange new post-apocalyptic schools of thought: ‘I worry about men’s tendency to get lost in beliefs and self-importance and I predict that women would carry the burden of providing following a collapse. I imagine factions, sects, conspiracies and theories occupying the men’s time.’

The good life, by Greg Rook

So would the people pictured in these paintings survive? ‘Ultimately we are adaptable and our happiness is relative to our circumstances. If our expectations become limited then our aspirations shrink to fit, and what we require to survive adapts accordingly.’

Here’s my Q&A about Greg’s work, covering influences, process (what does he listen to?) and research – and what it is that ‘makes his hands itch with wanting to paint’.

You can find out more from Greg’s website.


Regular readers of this blog will know that at the end of October I went to North Cornwall Book Festival and was put up with a number of authors in a farmhouse at St Endellion. If apocalypse had struck and left us stranded there, who knows, we might have all had to turn our hands to agrarian living…

At least we’d have had Patrick Gale to teach us about farming. And perhaps Neel Mukherjee’s experience of scything would have had a practical application in addition to its literary effectiveness (it was undertaken as research for the brilliant scene where Supratik, the revolutionary in The Lives of Others, struggles to learn the technique and keep going in the brutal heat. As Neel explained in conversation with Patricia Duncker at NCBF, he found it extraordinarily difficult and exhausting too…)

The impossible choice: Kramer vs Kramer

Kramer vs Kramer

Has everybody seen Kramer vs Kramer? I watched it again about a year ago, as part of my research for my (nearly-finished) work-in-progress, which is partly about the aftermath of a custody battle. I was talking about it with a friend in a cafe a week ago when something unusual happened: the guy at the next table chipped in to tell us how that film had changed his life.

I’d just been talking about how I’d gone back to the book on which the film was based, and the case it makes for how, under some circumstances, the father should get primary custody after a split. Our neighbour at the next table was American, about my age – a 1970s child. He told us his parents had split up around the time Kramer vs Kramer came out and he had been about the same age as the boy in the film.

The original plan had been for him to live with his mother when everything was settled, but he had been living with his dad for a few months when his mum came to him and asked him who he wanted to live with: her, or his dad? And he chose his dad.

She’d asked him because she had seen the film and had been so affected by it. ‘A boy needs his father,’ she said.

So how had all this worked out? All right, it seemed – though it had meant the boy had to get on a plane to see his mother, which happened around three times a year.

Looking back from an adult’s perspective, he wondered if he’d understood the question in the way that she had meant it, as a choice between his parents. Perhaps he had really thought she was asking, ‘Do you want to stay here with Dad in the place you’ve got to know, or come with me to a place you’ve never seen?’ and, as children do, had plumped for what seemed most familiar, the least upheaval, at the time.

Stories are powerful things and sometimes they change lives…

Why I love Cornwall


My abiding memory of my first trip to Cornwall, aged four, is of walking back from the beach in an odd assortment of clothes and no knickers. I’d been swept out to sea; well, that was my impression of the experience, but really, I’d been knocked off my feet by a wave. Everyone I was with donated something for me to put on, but underwear I had to do without.


My seven-year-old son, who has autism, had a similar wardrobe crisis recently following a too-close encounter with the sea. This was at St Ives, and it was beautiful – the sea and the sky were an extraordinary translucent blue (half-an-hour later, the mist rolled in and it all vanished). We were just about to leave when he fell over on the wet sand and soaked his top and trousers. A rescue party scaled the cliffs in search of a new outfit from a charity shop, duly returning with a surfer-dude shorts and hoodie look; in the meantime, he circled the sand in his anorak and a pair of slightly damp, and therefore transparent, white pants.


I’m told that the Anglo-Saxons regarded today, the 7th November, as the beginning of winter. It’s been so windy and foggy and murky in Oxfordshire over the last few days, it’s hard to believe that not so long ago the children really were paddling in the sea.

Our half-term trip to Cornwall was the very first family holiday the four of us have ever had. Given my son’s autism, a holiday has always seemed more likely to be an ordeal than a treat. So it was the most amazing feeling to look out of the train window and see an alien landscape – rugged, with unfamiliar trees and a haze of mist being sucked up towards the sun. The mist cleared as we approached Penzance and we saw the sea. The light was unmistakably different to home – more vivid: it was as if we’d stepped out of a Constable or a Reynolds and into a Cezanne.


We stayed in the family room at the youth hostel in Penzance – run by lovely people (the breakfast is very good too). But our stay was really made special by friends who live nearby and who took care of us, showing us round, feeding us and providing our boy with the perfect sofa for his afternoon nap.


And now I’ve finally been to St Ives! Years ago, when I was a rookie reporter, I went to a Sunday afternoon cake and gin party where a Canadian artist told us she’d gone on her own to St Ives by train – perhaps as a cure for a broken heart, or maybe just to dispel the blues. I’ve wanted to go there myself ever since. I wasn’t sure what our son would make of  Tate St Ives, but actually he really loved the kids’ activities – lots of torches and lenses to play with.

Last time I went to Cornwall was for the July 1999 solar eclipse (ultimately an eerie experience – I won’t forget the strange cold rush of wind along the grass when the sun went dark). That was the trip that inspired the visits to Cornwall in my first novel, Stop the Clock. I still have, somewhere, the Perranporth Yard of Ale award I won on a previous Cornish holiday, in 1991.


Still on my Cornwall hitlist: Mousehole, the Eden Project, Lands’ End, the North Cornwall Book Festival (I hoped to make it this time round but it was too much to fit in), and much more… I’m also sorry I didn’t make it to the Edge of the World bookshop in Penzance and St Ives Bookseller – maybe next time!

To wind up with a mini-listicle, here are some Cornwall-set novels I’ve read and loved down the years:

Notes from an Exhibition by Patrick Gale, which is set mainly in Penzance. I read this recently and came away with the feeling that I’d been somewhere full of light.


The Camomile Lawn by Mary Wesley. One of the many things I love about this book is that Calypso marries for money and then falls in love, and firmly refuses to come to a bad end. I’m also a big fan of Patrick Marnham’s biography of Mary Wesley, Wild Mary – recommended reading for writers, especially women writers, along with Hermione Lee’s life of Penelope Fitzgerald, which I took with me on my most recent trip to Cornwall and will be very sorry to finish. Though I am also very happy to have got to the bit of the story where, late in life, she wins through to find a wide and admiring readership.

Out of various Daphne du Maurier possibilities – Frenchman’s Creek.

The first few Poldark novels. They’re adapting them for telly again, so the books are set to have a second lease of life. I did feel for Demelza, battling it out against Elizabeth, the perfect, unobtainable first love.

Susan Howatch’s Penmarric. I read this as a teenager and it made a big impression, prompting me to attempt a family saga of my own. My opening line, written from the point of view of the hapless Casanova heir of the country estate, was: ‘I made the same mistake with Clara that I have made with every other woman in my life: first I fell in love with her, and then I fell in love with somebody else.’ I never finished it.

If anyone has any other recommendations for Cornwall reading or places to go, let me know!

my Books Are My Bag bag came too, along with my son’s autism awareness bear and Hermione Lee’s life of Penelope Fitzgerald


Confessions of a terrible baker, and how my mum rescued me

IMG_3774 copy
Barm Brack, aka Working Mother’s cake, plus tea and muffins

I have a confession to make – as my children and husband know, I’m a terrible baker. If it wasn’t for them, it’s quite possible that my oven would be used for shoe storage, like Carrie’s in Sex and The City. We’re talking Bridget Jones levels of ineptitude here. My sponge cakes just don’t rise, and I once made tuna pasta without the tuna in. And as for what happened when, as a child, I was left in charge of a pan of simmering rice… Well, of course, I went off to my room to write a story and forgot all about it.

Imagine my dismay, then, when I started a new job and found that my office was full of keen and very expert bakers, and they had a cake club which I was immediately invited to join.

So what did I do? I turned to my mother for help.

This is her recipe for Barm Brack, which she used to make pretty much every week when I was a kid. I think it was originally her mother’s recipe. I promise you, it works, even if you’re really rubbish like me. And it rises into a nice satisfying loaf and makes your kitchen smell all cinamonny. Serve with butter and a nice cup of tea.

(Easter Sunday update: my mum tells me the recipe is actually based on a Mary Berry one, which she adapted depending on what she had to hand. I remember Mary Berry’s Hamlyn All Colour Cook Book having pride of place on a shelf in our kitchen in the 80s. So all hail Mary Berry, the source of happy tea-times down the decades!)

I’ve been thinking about this recipe because I’ve been reading Jenny Colgan’s Meet Me at the Cupcake Café (I know, about a million years after it came out), which has lots of recipes in it that are named according to how the heroine is feeling at the time. For me, this cake is Working Mother cake. It’s the cake you can knock up when you’re knackered and it’ll still come out all right. And it makes me think of my mum and my grandma (there’s a pic of me going to collect eggs with my grandma at the end of this post.)

Oh, and my cake club liked it!

Sorry, it isn’t metric. If you want to give it a go, hope you can figure it out, and that the recipe works for you too – let me know!

The pic at the top of this post dates from a bake-off my daughter challenged me to last summer. She made some very delicious muffins. Luckily, thanks to Working Mother’s Cake once again, I wasn’t too badly disgraced.

Happy Easter everybody!

Barm Brack (aka Working Mother cake)

½ pint cold tea

6 oz soft brown sugar

12 oz mixed dried fruit

10 oz self-raising flour

1 egg

Put tea, sugar and fruit in bowl – cover and leave to soak overnight (or for 2 hours!)

Add one teaspoon each of nutmeg, cinnamon and allspice for flavour. (My note – don’t forget this bit! I once did and fished the cake out of the oven to add at the last minute – shades of the tuna-less pasta once more.) Beat egg and stir with flour into mixture. Grease and flour 2lb loaf tin, add mixture and bake in oven, gas mark 4 (180 C) for approx 1 hour/1 hour 10 min.

(PS – when I read How to be a Heroine by Samantha Ellis recently, I came to a bit where she said it wasn’t possible that somebody could be quite so useless in the kitchen as Bridget Jones – it was the bit where Bridget leaves blue stringy packaging on the meat, or does something bad to spaghetti, or something like that. Samantha, I’m sorry to break it to you, but it *is* possible, alas!)

(PPS – luckily for everyone, I married an absolutely excellent cook. I think Sheryl Sandberg should stress the importance of this, if she hasn’t already.)

childhood time in the countryside
Childhood time in the countryside

Benjamin Britten and three lessons in creativity

childhood time in the countryside
Benjamin Britten’s music makes me think of countryside and childhood

A cold clear blue-sky day in Oxford, children from primary schools across the county singing, young and old in the audience, everybody drawn together by the music. I went to see my 10-year-old daughter and her school choir at the Sheldonian today, taking part in a ‘Friday Afternoons’ concert to celebrate the 100th anniversary of the birth of Benjamin Britten – and it was fantastic!

It was also a chance to hear Professor Robert Saxton, who is professor of composition and tutorial fellow in music at Worcester College, answering questions from the schoolchildren about Benjamin Britten, who taught him. Was Benjamin Britten a grumpy teacher? Well – a bit sharp sometimes, if people weren’t up to scratch or weren’t being efficient; but he was also very generous and very kind.

Dr John Traill, the conductor, passed on the children’s questions during an interview with Professor Saxton before the choirs embarked on the Friday Afternoons songs. Professor Saxton was also asked for tips for composers, and described three important lessons he had learned from his own teachers – including Benjamin Britten. His advice struck me as being relevant to pretty much any creative work, including writing, so here it is, paraphrased:

  • Think of the whole when you are working on the part. If you’re composing a line of music, have the impact you want the whole of the composition to make in mind.
  • Make it real. Get other people involved. Being able to record something and play it back via computer isn’t the same as letting other people loose on it to see if it works. (I suppose this is like the scary but essential part when you give your writing to readers.)
  • Work very hard! However great your ambitions for what you hope to achieve, none of it will be possible without working away on your technical skills.

It was amazing to hear the children singing songs I remember from my time in the South Berkshire Music Centre junior choir thirty years ago. You can’t beat a truly thundering finish with Old Abram Brown.

Happy St Cecilia’s Day everyone!

The Brixton bomb and Kate Atkinson’s Life After Life

I was on my way towards the centre of Brixton when the bomb went off. At first I had no idea what it was. I have no recollection of hearing an explosion. What I remember is the helicopter that almost immediately appeared above the rooftops of Brixton Road.  It was early evening and the sky was tinged with red; the helicopter whirred and hovered, watching, waiting. It looked apocalyptic. It looked like a scene from a war film, and therefore it was also weirdly familiar, like a déjà vu, and I carried on walking towards it.

When the bomb went off I was just approaching the junction with Coldharbour Lane. I was on my way to Brixton Rec for a swim; my route ran right through the blast, and if I’d been a few minutes earlier, I would almost certainly have crossed over and walked into it.

But by the time I approached the carnage there was already glass scattered all across the pavement. I think I remember a double-decker that had ground to a halt, its windows blown out. It’s always a busy thoroughfare, but the traffic had come to a standstill and many people on my side of the road were standing and looking around, dazed and uncertain.

I still didn’t understand what had happened. I thought perhaps a gas explosion? It didn’t occur to me that this might have been deliberate. This was before 9/11, before 7/7; more longstanding Londoners would have remembered IRA attacks, but I did not. This was 1999, and my experience of the city had been peaceful.

When I looked across to the opposite side of the road I was horrified to glimpse someone lying on the pavement, clearly seriously injured, being attended to by somebody else. A man sprinted past me, heading away from the destruction back towards Brixton Hill, where I had come from. He shouted out that it had been a bomb, that we were fools, that we should all get away. For a moment I thought this was farfetched. Then I realised it was not. It seemed to have taken a very long time (though it was probably mere minutes) but the emergency services began to cordon the area off. Somebody was in charge again.

I turned round and began to retrace my steps, heading back towards home. All the way along Brixton Hill people were coming out of shops and cafés, asking what had happened, telling what they knew. Numbers of the injured were mentioned. People were shocked, disbelieving, matter-of-fact. I have never in my life been in any other situation in which every single stranger around me was talking so intently and so urgently about the same thing.

Back home, I turned on the news. The terrible details of the suffering that had been inflicted became clearer, and I began to realise what I had escaped. Later I went out and got good and drunk at my friends’ house round the corner, and I think lots of others did the same; I heard that there was a mood of bravado in the clubs and pubs of Brixton that night.

Sometime in the next few days I saw an image from that evening that has stayed with me, as it must have done for many: the x-ray of the head of a 23-month-old baby injured in the blast. A nail from the bomb had penetrated the child’s skull, lodging in the brain.

I thought of the Brixton bomb when I read Kate Atkinson’s excellent novel Life After Life earlier this year. The heroine experiences her life over and over again, cut short by different combinations of incident and coincidence and reaction. It’s a salutary reminder of how close we often come to danger, and how much of the time we may not even be aware of what we have escaped.

Q and A with an artist: Greg Rook and his Survivors paintings

The Cornfield, by Greg Rook
The Cornfield, by Greg Rook

It’s a long time since I’ve been to a private view, but back in October I left the school run to my other half and got the train to the OMT Gallery in Deptford, where I saw these fantastic paintings.

I think they’re beautiful, but also a little sinister and unsettling – you can guess at the relationships between the people in them, but you can’t quite tell what’s going on. It’s like catching a glint of a story out of the corner of your eye.

Morning with plough, by Greg Rook
Morning with plough, by Greg Rook

‘Not so mock heroic paintings of our past potential futures’

I know Greg Rook, the artist – twenty years ago, we were students together – but I don’t know anything much about him as an artist. I’m always interested to know, with writing, how other writers set about their work – cork-lined study? Pyjamas? Kitchen table? Morning? Evening? – and I was curious to find out more about what went into this series of paintings, and how they developed. So I asked Greg if he’d do a guest Q & A post on my blog, and here it is.

What prompted you to make the Survivors series of paintings? (Did you see the recent remake?) Besides the TV series, was there anything else that provided inspiration?

Greg: The original and remake acted as an inspiration in that they seemed like a right wing, apocalyptic reaction to ‘The Good Life’. Both the original ‘Survivors’ and ‘The Good Life’ were first broadcast in 1975 and they function as opposed versions of potential futures imagined in the sixties and seventies.

I was brought up understanding ‘The Good Life’ to be some kind of ideal – affable, well-intentioned making-do and self-reliance were the cornerstone of my moral upbringing – and yet the more I romanticise an agrarian, self-sufficient lifestyle, the more I fear that it will only come about, not through enlightened, progressive thinking, but through disaster and collapse.

Harvest, by Greg Rook
Harvest, by Greg Rook

What was the process – how did you set about them?

Greg: As with my earlier cowboy paintings, it is important that there is some remove between me and the imagery, as there is between me and the lifestyle – there is a level of naivety in my romanticising.

I spend months searching on the internet, through films and in specialist  ‘backwoods’ and ‘survivalist’ books and magazines sourced online, looking for the right figures and landscapes, researching the commune and off–grid movements that have been proposed and that have existed. I hoard, sort and refine until I have a body of images to work with. For this series I found myself particularly drawn to English Georgic landscapes, seventies US communes and Soviet social realism.

With my source imagery I set about creating collages in Photoshop. For this series I would have produced over a hundred from which I eventually paint about a dozen. In painting the chosen few I try to harmonise the different sources and yet let it remain evident that these are collaged from paintings, black and white photographs, film stills and drawings.

Landscape with goat, by Greg Rook
Landscape with goat, by Greg Rook

Where did you work on them? (What’s your studio like?) What do you have around you when you’re working?

Greg: I have a beautiful studio overlooking the canal in Bethnal Green. I’m surrounded by all the paintings that I’m still working on, as I work on all the paintings in the series at the same time, and a wall of windows watching the boats and towpath pedestrians as they pass. I nearly always have podcasts playing in the background – arts, politics, comedy. I find music a bit overwhelming whilst I’m working, and silence even more so.

How long did they take to do? Was there a particular pattern or routine to the time you spent on them ?

Greg: I work on all the paintings, in stages, at the same time – they are all sketched out, then I work on each one for a day. Some are finished at this point. Some need another day. Some need rescuing and I have to come back to them again and again. As much as I enjoy the freshness of the paintings that work first time, I get great satisfaction from bringing a painting back from the brink of disaster.

Untitled (tents), by Greg Rook
Untitled (pigs), by Greg Rook

The people in the paintings are doing various tasks – some of them labouring away, others not so much. If you were a Survivor, what do you think you’d end up doing?

Greg: Part of the ambiguity in my take on commune living, agrarian life styles and self-sufficiency lies in the fact that, although I romanticise it, I suspect I would be a terrible survivor. Although I might have some of the skills or knowledge, I lack the inclination.

Are the women working harder than the men?

Greg: A previous series of paintings saw men indulging in foot washing, laying on of hands and snake handling. I worry about men’s tendency to get lost in beliefs and self-importance and I predict that women would carry the burden of providing following a collapse. I imagine factions, sects, conspiracies and theories occupying the men’s time.

Untitled (tents) by Greg Rook
Untitled (tents), by Greg Rook

Do you think these Survivors are going to survive?

Greg: Ultimately we are adaptable and our happiness is relative to our circumstances. If our expectations become limited then our aspirations shrink to fit, and what we require to survive adapts accordingly.

Which artists do you think have most influenced you (and these paintings)?

Greg: There are always paintings that inspire you to paint, and often very different works that are referenced or inspire you to make a particular painting. I love Michael Borremans’ ‘Red hand, Green hand’, George Braque’s studio paintings, Phillip Guston’s ‘Ravine’, ‘Pit’ or ‘Ancient Wall’, to pick a few. But in this series I’ve used Gainsborough, Constable and Turner, whilst perhaps being most directly influenced in the way I approach the paintings by the work of Neil Tate, Varda Caivano, Edouard Vuillard and the drawings of Van Gogh. Then again the colours owe a debt to early Technicolor and the hand tinted photographs of the early 1900s.

If you had to describe your work in 140 characters, what would you say? (I know, I know – I got asked this one about my writing. Mine was, “you may laugh now, but wait for the dying fall”).

Greg: Not so mock heroic paintings of our past potential futures.

Is there a famous painting , or other work of art, you’d particularly like to be able to borrow for a bit and have around the house? (Choose more than one if you like…)

Greg: At the moment it would be ‘Red hand, Green hand’ by Michael Borremans. It makes my hands itch with wanting to paint.

What’s your next project?

Greg: I’m not yet done with this series of work. There will be another show documenting this ‘group’ as they continue to construct their lives.

Corn Dolly, by Greg Rook
Corn Dolly, by Greg Rook

You can see more of the Survivors paintings and other work on Greg’s website.