The West Lothian Question Answered: a commonwealth of sovereign states

The problem is how you can have Scottish MPs voting in Westminster on matters that affect England, when Scotland has its own parliament to deal with the same matters; yet if they are forced to abstain, you could have a government some of whose supporters are excluded from legislating on the manifesto it was elected on.

Why not take a leaf out of Europe’s book? If Europe is a community of sovereign nations who have pooled certain powers by agreement through treaties, why should we (in the British Isles) not do the same?

1. Dissolve the UK parliament (so doing away with the House of Lords)

2. Let each constituent country – England, Scotland, Wales, Northern Ireland (or even a united Ireland – who knows? they might want to join) together with crown dependencies such as the Isle of Man and the Channel Islands – have a wholly sovereign parliament with tax-raising powers, elected by those who live there, which orders all the affairs of its territory, subject to the exceptions noted below.

3. Let each constituent parliament delegate a person or persons to attend a council which will agree matters of common interest to this commonwealth of nations; if need be, they can be allocated in proportion to the constituent members. This council will decide such matters as defence, foreign policy and fiscal policy (to the extent deemed necessary for a shared currency). The matters that are remitted to the Council will be for the constituent members to decide. The decisions of the Council must be ratified by the various parliaments, but (as a rule) they will not demur.

4. The constituent countries will make a pledge of mutual succour and support.

5. There will be treaties between the member states on common matters, much as there are in Europe. Borders will be open, trade free, and so on. If thought necessary there will common agricultural and fisheries policies and subsidies on the European model, in line with point 4.

Problem solved. Over to you, Mr Cameron.

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Imaginary lines: bounded by consent

I have spoken before about the relation of the real and the imaginary, suggesting that the opposition we commonly make between them does not bear examination; now, prompted by current events – chiefly the upcoming referendum on Scottish independence – I would like to consider the matter again, first in relation to our world, next in relation to ourselves.

Let’s start with some maps. Consider this one (click to enlarge):


It shows what would have been Kurdistan had the Treaty of Sèvres been ratified in 1920, a country comprising territory drawn from present day Turkey, Iran, Syria and Iraq. But the treaty was overtaken by events and never implemented; as a consequence, the Kurds, a numerous people with their own distinct culture, have no country that can be found on the map below (click to enlarge):


That is a reasonably current political map of the world, though if you look closely, it does not show South Sudan as a separate country; and quarter of a century ago it would have looked very different, as countries such as the Baltic States (Lithuania, Latvia, Estonia) and Belarus, Ukraine, Georgia, Moldova, Armenia, Azerbaijan, Kazakhstan, Uzbekistan, Turkmenistan, Kyrgyzstan and Mongolia would all have been shown as part of the Soviet Union, while all the Balkan states – Slovenia, Bosnia Herzegovina, Croatia, Montenegro, Serbia, Kosovo and Macedonia – would have been shown as Yugoslavia, while Czechoslovakia would have been a single country. Depending on the outcome of Thursday’s referendum, it may need to be changed again, in a couple of years, to show Scotland as a separate country.

Now, many of the countries in that list did not reappear on the map without considerable bloodshed, loss of life and material destruction, so there is no doubt that those lines and colours represent something that has real effects; yet only because we allow it to be so – the great majority of the earth’s population (by which I mean the non-human part) pay them no heed at all – to the birds and bees and beasts and fishes the world is like this, a number of undifferentiated unnamed landmasses of varying terrain surrounded by a great deal of water and capped above and below with ice (click to enlarge):


The political map of the world is, in effect, the picture of an extraordinary work of the imagination: nothing that it shows is actually there. It represents an imaginary consensus that we have (more or less) agreed to abide by.

You will rightly protest, ‘when did we agree to it? when did we give our consent?’ and in one sense that is fair enough: it may be, as Burns avers, that ‘Freedom an Whisky gang thegither’ but borders and consent seldom do. Take that line shown on the first map, dividing the French Mandate of Syria from the British mandate of Iraq – that is the (in)famous Sykes-Picot line, drawn in 1916 by Mr Sykes, an Englishman, and M. Picot, a Frenchman, without reference to the people living in either territory (the same line is currently straddled by the bloodthirsty and barbarous forces of IS, seeking to establish a territory carved from present day Iraq and Syria).

The Sykes-Picot line is by no means exceptional: the bounds of most of the countries in Africa were similarly created, to suit their own ends, by European Imperial powers in the nineteenth century – a fact which I am sure contributes to the mindset of many of those currently camped in Calais, desperately seeking any means to cross the channel; they have only got there by flagrant disregard of borders and the conventions that maintain them, generally at great personal risk and hardship. (Many do not make it so far – 2.500 migrants are reckoned to have drowned in the Mediterranean this year alone; and it is shameful that it took diligent searching to find this account of the latest horror – 500 believed drowned last week, after their traffickers rammed their boat – perhaps if we were less preoccupied with our internal boundaries it might have had more prominence) Are the ones who have reached Calais unreasonable in thinking they should not be bound by imaginary lines they had no part in drawing?

But such defiance of convention makes us and our governments nervous: we feel it as a threat to ‘all we stand for’ – that being what the political map shows. It represents the triumph of one set of ideas – the notion of ‘civilisation’ – dwelling in settled communities – over a much older idea that now survives only in pockets, and in the face of much hostility, namely that people are free to wander over the face of the earth, much as its non-human population does.

It is interesting to consider the political world map alongside the question of religious belief. We acknowledge that (in the West, at least) there is a crisis of religious faith: institutions and sets of ideas that long exerted a powerful sway over people’s lives, and in which there was a widespread belief (I mean ‘belief’ in the sense of ‘confidence’ or ‘trust’) have now fallen into decay – a consensus that formerly existed has begun to break up, for good or ill. Yet the imaginary world portrayed by the political map, with its countries, borders, laws, is just as much a matter of faith: it exists only because we assent to it; it has the shape and form it has because we have given it that shape and form, not from any external cause. Whether it keeps that shape or form or changes it for another is a matter of will.

But do not fall into the trap of supposing that imaginary things are easy to alter: you can destroy a city more easily than you can destroy an idea. Our beliefs, of all things, are perhaps least easily changed. But the realisation that they are beliefs, not pre-ordained facts, and that we alone are responsible for them, is an important shift of perspective: once we have made it, we can no longer say ‘that is just the way things are’ nor protest ‘we can’t do anything about it.’

We must see that this is the way we have made things for ourselves, and we are the only ones who can do anything about it (and truth to tell, the only ones to whom it matters a jot: the birds and beasts and fishes don’t mind).

[There is a further stage that I want to consider, and that is whether our beliefs concerning ourselves and our relation to one another and the world are not equally conventional and capable of being reimagined in some better way, but for now, enough]


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How to squander a winning hand


If there is an Ignobel Prize for Political Ineptitude, I would like to nominate the ‘Better Together’ campaign in the Scottish referendum debate. How is it possible to start with such a strong hand and play it so badly?

Think of it like this:

You live, let us say, in an ancient property divided unequally: by far the greater part is occupied by a large and numerous family, while your own family and two others occupy parts of the building very much smaller. The property is run communally though each of you has their own living space. There is a shared entrance (an adjoining establishment that used to be part of the same set-up then left has a separate entrance).You all get on well enough even if those of you in the smaller properties occasionally feel your larger neighbour treats your living space as an extension of their own.

Now some of your family are proposing an alteration to these arrangements: they want to drop out of the communal way of doing things and run their own small household without reference to the others. This will involve some degree of restructuring – separate water and power supplies, say – though no-one seems quite sure how much or what it will cost. They propose keeping the common entrance, however, as that seems sensible and practical.

Your family are divided on the point: some are keenly in favour, others against; some are insufficiently engaged by the question to favour either side. In order to decide, the matter is to be put to a vote.

An outsider might think that, human nature being what it is, the advocates of change don’t really have much to offer: at the cost of some certain but unquantifiable disruption, they propose that you go on living in the same house with the same neighbours in more or less the same arrangement, but with some changes to how the household finances are managed (it should be said that whether you will be better or worse off under the new arrangement is a matter of dispute: some say yea, others nay).

Inertia (the current set-up, though capable of improvement – what household is not? – works well enough; has done for years) and a liking for the quiet life (change will undoubtedly involve disruption and a certain cost) should suffice, you would think, to persuade the majority to prefer the status quo; you would see little for those in the largest household, who dominate the present arrangement by virtue of their size, to worry about. Surely they would be best to take a relaxed attitude, sit back and say, ‘well, take a look at what you’ve got – works all right, don’t you think? Still, if there’s a real case to be made for change, let’s hear what it is. It’s not as if you’re going anywhere, is it? We’ll still be here, you’ll still be there, and I expect we’ll get along much as we’ve always done.’

No need, certainly, to become embroiled in a dispute about the common entrance, to insist that if your family votes for change, they’ll need to build their own, because ‘we won’t let you use ours any more: not open to discussion; end of.’ No need, surely, to go around threatening all sorts of dire consequences if there is a vote for change; why not simply ask ‘what more do you think you’ll be getting? I mean, beyond what you’ve got already? do you think it’ll be worth the effort?’

Such conduct will only serve to get people’s backs up, and will probably persuade some who favoured the status quo to think twice about it; after all, no-one likes to be bullied.

And when such a shift in opinion becomes evident, surely it would be better to say, ‘you know what – we’ve thought about it, and we don’t really mind about the door. You can use it if you like, though on much the same terms as now, so we’re not sure how that fits with your notion of doing everything yourself – after all, it’s our door too, and we use it more than you so we’d expect to have the final say. What else was it you wanted again? I mean, besides what you’ve already got?’

Rather that than turn up, lachrymose and inebriated, at a very late hour, promising all sorts of things while pleading ‘Please don’t leave us! We love you! we’d be heartbroken to lose you! We can’t bear to think of life apart! We’ve been so good together!’

After all, it’s not as if you’re going anywhere, is it? You’ll still be in exactly the same place, exactly the same people, doing much the same things – it’s just that now, after these embarrassing displays on the part of the neighbours, you do begin to think you might be better looking after things yourself – after all, if they make such a hash of this straightforward business, how can you trust them in more challenging tasks, like organising pea-soup in a brewery?

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Much Ado

Screenshot 2014-08-18 16.15.18

‘I have of late–but
wherefore I know not–lost all my mirth, forgone all
custom of exercises; and indeed it goes so heavily
with my disposition that this goodly frame, the
earth, seems to me a sterile promontory, this most
excellent canopy, the air, look you, this brave
o’erhanging firmament, this majestical roof fretted
with golden fire, why, it appears no other thing to
me than a foul and pestilent congregation of vapours.’

So Hamlet, that world-weary young man. For my part, I have been bothered a little at how little bothered I feel about the upcoming Scottish referendum (September 18th, folks! Just got our polling cards through the letterbox). Am I, like Hamlet, suffering from general dysphoria, or is there some other cause?

After all, this – we are told – is an historic moment; ‘now’s the day and now’s the hour’, to quote the words Burns put in the mouth of Bruce; or if you prefer Elvis, ‘It’s now or never’.

But is it?

One explanation of my indifference might be that the whole thing is a lot less important than it’s cracked up to be.

We live in an age of exaggeration, of shouting simply to make oneself heard: for some weeks in the summer the back page of a newspaper I hadn’t got round to throwing out proclaimed “England slide into World Cup abyss”. Really? Then what words should we use for the situation in Syria and Iraq, Gaza or Ukraine?

Could it be that, in terms of importance, the referendum is more on a par with England’s exit from the World Cup than (say) the fall of the Berlin Wall and the reunification of Germany?

It is, after all, some seven centuries since we fought for (and won back) under Robert the Bruce the independence we had lost with the death of Alexander III on the cliffs at Kinghorn. Since the matter has not been contested in arms since, it is reasonable to ask when (if at all) we lost it again. The Union of the Crowns in 1603 was a Scots takeover of the English throne: the new United Kingdom of England, Ireland, Scotland and Wales was ruled by the same dynasty that succeeded the House of Bruce, the Stewarts or Stuarts (not the most distinguished of Royal Houses, it must be said). Whatever may have been the political comings and goings of the Act of Union (1707), it was overseen by a Stuart monarch, the last of them, Queen Anne. The subsequent Jacobite risings of 1715 and 1745, which ended in 1746 with the last pitched battle on British soil at Culloden, had nothing to do with Scottish independence; their aim was to restore the catholic Stuarts to the throne of Great Britain.

The view that we lost our independence in 1707, not through force of arms but by political chicanery, is succinctly expressed by Robert Burns:

What force or guile could not subdue,
Thro’ many warlike ages,
Is wrought now by a coward few,
For hireling traitor’s wages.
The English steel we could disdain,
Secure in valour’s station;
But English gold has been our bane-
Such a parcel of rogues in a nation!

O would, or I had seen the day
That Treason thus could sell us,
My auld grey head had lien in clay,
Wi’Bruce and loyal Wallace!
But pith and power, till my last hour,
I’ll mak this declaration;
We’re bought and sold for English gold-
Such a parcel of rogues in a nation!

But it is worth pausing to consider that Burns wrote that in 1791, about an event that occurred more than half a century before he was born. And there is a certain irony in the fact that he wrote it at a time when the Scottish Enlightenment had made Edinburgh – the Edinburgh of Hume and Fergusson, Robert Adam and Adam Smith – a European centre of culture and learning, and Scottish Education a byword for excellence and democratic opportunity (of which Burns himself was a prime example). (Scotland, with a much smaller population, boasted five universities (Aberdeen alone had two!) to England’s two, and the High School of Edinburgh was regarded as a world centre of classical learning).

So it is hard to make the case that the loss of local political institutions (Scotland retained political representation in the British parliament) had a detrimental effect on Scotland’s standing as a nation in the eyes of the world or in her own conceit. It could be argued that Scotland in the eighteenth century was as buoyantly independent in her thought and culture as she has ever been in her history. The inference is that political independence is neither necessary nor sufficient to establish our self- esteem as a nation (though it might have an immediate positive effect as I will discuss below).

I have to say that I find it difficult to envisage in what way an independent Scotland will differ from our present state. Certainly, there is no yoke of oppression to be thrown off: the minor irritation of those who use ‘England’ and ‘Britain’ interchangeably and the fact that the regnal numbers of various monarchs are wrong (the United Kingdom has only had one Queen Elizabeth, two King Edwards and two King Williams) hardly constitutes a serious grievance.

As to the notion that the Scots have by nature a different political bent from the English (i.e. they incline to the right, we to the left), it does not really bear examination. It is true that Margaret Thatcher’s brand of conservatism was never popular in Scotland (but then it was not popular with a lot of old-school Tories either) but you only have to go back to the fifties to find the majority of Scots voting Conservative (though of course what ‘Labour’ and ‘Conservative’ actually stand for has greatly changed in that time too). My guess is that an independent Scotland will sooner divide along party lines than develop a political consensus in any direction.

As I have said above, I would expect a majority ‘yes’ vote to have a positive effect, at least initially, particularly in my own field, the Arts. There would, I think, be an upsurge of creative energy; people would feel good about themselves, at least for a time. How long that feeling would last depends on the economy: if it continues to recover and improve, then people will be happy and independence will be given the credit; if it goes into decline, they will grumble, and see it as a mistake.

However, I think that, as far as the economy goes, we live in an interdependent world, and whether our lot improves or declines will be no more in our control if we are independent than it is now; I grant that being a small nation might give us a certain nimbleness in seizing opportunities within the wider European Community (the ‘Celtic Tiger’ argument, pt 1) but on the other hand it will make us more vulnerable to economic downturn than is presently the case (the ‘Celtic Tiger’ argument, pt 2).

The arguments about European Union membership and what our currency will be are, in my view, red herrings. The EU has no reason not to welcome Scotland as a member nor is there any reason why the remainder of the United Kingdom would fail to reach a currency agreement with an independent Scotland since the interests of both parties are largely similar. The pretence of Messrs Cameron, Clegg and Miliband that under no circumstances would they enter a currency union is the most dishonest piece of humbug in the whole debate: each of them knows perfectly well that in the event of a yes vote they will negotiate. That is what governments do.

And is it ‘now or never’?

Why should it be? If the vote is narrow – in either direction – it will give sufficient ground for the losing side to believe that the matter can be revisited if circumstances after the vote alter for the worse. (And don’t try to tell me that no country in history has voted to give up its independent political institutions – isn’t that what we did in 1707?)

So what shall I do? I remain, quite genuinely, undecided.

I worry that my view is more swayed by trivial irritants (such as the ‘no currency union’ humbug mentioned above, or the uncalled-for intervention of that egregious ass, Mr Tony Abbott, Prime Minister of Australia) than by serious argument. Most of these irritants originate from the ‘No’ camp but that can hardly be a reason for voting yes any more than my irritation at the exaggerated language used by some on the ‘yes’ side is a reason for voting no: this is not ‘a turning point in our history’, nor will it be a ‘betrayal’ of future generations should we fail to vote for independence.

This is not – to use a good Scots expression – ‘worth gettin het-up aboot’; most certainly it is not worth losing friends over. Whatever the outcome on September 18th, I hope we can accept it with good grace and a proper sense of proportion, without recrimination or triumphalism. Whether Scotland is a better place to live in future depends entirely on how we choose to treat one another and conduct ourselves, not on the outcome of any ballot.


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Switching sides: a confession


When I was younger – more than quarter of a century younger – I did something that I now think was wrong, though I didn’t at the time. I was asked to cover someone’s Higher English evening class and found that they were studying Wordsworth’s poem that begins

‘Up! up! my friend, and quit your books’

(which I find is called ‘The Tables Turned’ and is actually part of a sequence – see here: The poem contains one of his most famous lines, the last in this verse:

Sweet is the lore which Nature brings;

Our meddling intellect

Mis-shapes the beauteous forms of things:–

We murder to dissect.

As one who had spent his university education largely in philosophy, I found this equation of intellectual analysis with meddling and murder difficult to stomach and I’m sure it contributed to a general antipathy I felt (and still feel) towards Wordsworth, whom I also studied at university. It is a purely personal prejudice: I allow that he wrote some beautiful poetry, but I cannot like the man. This poem in particular I find repellent, I think because it has a strain of jolly heartiness throughout: one can picture those opening lines accompanied by some hearty backslapping that sends the poor weedy scholar sprawling, with each exhortation to be ‘Up!’:

UP! up! my Friend, and quit your books;

Or surely you’ll grow double:

Up! up! my Friend, and clear your looks;

Why all this toil and trouble?

There is also a glib certainty about many of the sentiments expressed that strikes me still as oversimplification, the same sort of wholesome hokey that sets my teeth on edge when people post it on Google Plus as ‘inspirational quotes’ (often misattributed):

Let nature be your teacher!


One impulse from a vernal wood

May teach you more of man,

Of moral evil and of good,

Than all the sages can.

And I have always found a smack of ‘Strength through joy!’ in the lines that follow the exhortation ‘Let nature be your teacher’ (though that is hardly Wordsworth’s fault):

She has a world of ready wealth,

Our minds and hearts to bless–

Spontaneous wisdom breathed by health,

Truth breathed by cheerfulness.

So, finding myself confronted with this, I chose instead to offer the class an alternative view, in the form of this poem by RS Thomas, which seemed to me the perfect rejoinder to Wordsworth’s ‘bland philosophy of nature’:


A man, a field, silence — what is there to say?

He lives, he moves, and the October day

Burns slowly down.

                                     History is made

Elsewhere; the hours forfeit to time’s blade

Don’t matter here. The leaves large and small,

Shed by the branches, unlamented fall

About his shoulders. You may look in vain

Through the eyes’ window; on his meagre hearth

The thin, shy soul has not begun its reign

Over the darkness. Beauty, love and mirth

And joy are strangers there.

                                                    You must revise

Your bland philosophy of nature, earth

Has of itself no power to make men wise.

I am quite sure now that what I did was wrong, on the simple ground that I would not have liked someone to come in and subvert what I had chosen to teach my class; besides, doing Higher English in a year can be hard enough without having extra texts sprung on you at a moment’s notice. So for that, I apologise (as I recollect, I was never actually paid for the class in any case, so that is amends of a sort, I suppose).

However, I still think Thomas’s the better poem. It exposes a shallowness in Wordsworth’s thought: he overlooks the preconditions for learning from nature, which surely include some measure of material prosperity, a degree of leisure and perhaps also a certain level of education; if your relationship with the land is simply one of back-breaking toil for little reward, then I do not think you will reap many of the benefits that Wordsworth promises.

But that aside, I find myself now in a curious pass, because I have changed sides in the debate – not between Wordsworth and Thomas, but between Wordsworth and philosophy. Though by training and education I am a meddlesome intellect and a murderous dissecter, of recent years I have come to think that Wordsworth was right: I now believe that (in Western culture at least) we hugely overvalue the rational, the intellectual, the literary and the academic in relation to the instinctive and intuitive, and that we are the poorer for it – in simple terms, we have given the Head dominion over the Heart, when they should at least be equal partners.

In another post, I would like to consider this in particular relation to stories and storytelling; but for now, enough.


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‘The sound must mean mischief’ : M R James and the Age of Uncertainty


J Atkinson Grimshaw, ‘Shipping on the Clyde’

Is it still possible to write ghost stories or are they mere period curiosities?

Let me start by saying that the period and the milieu from which MR James’s stories spring has a strong attraction for me. Things Edwardian afflict me with acute nostalgia (nostalgia, as its name suggests, is a painful yearning). I have a predilection for libraries, whether in universities or country houses, and nothing would please me better than to pursue leisurely researches of an antiquarian nature at home or abroad, especially on my bicycle (a Sunbeam, for preference, or better still, a Lea & Francis); I could fancy myself, Newbolt-like, in some ancient college hall

‘… the dark wainscot and timbered roof,

The long tables, and the faces merry and keen;

The College Eight and their trainer dining aloof,

The Dons on the dais serene.’

So undoubtedly much of the pleasure of reading MR James for me is that it conjures a world to which I am strongly predisposed, one I would happily inhabit in my imagination, if not in reality. But is there more to it than that?

When James observes that

‘some degree of actuality is the charm of the best ghost stories; not a very insistent actuality, but one strong enough to allow the reader to identify himself with the patient’

we must not imagine that we can ‘identify with the patient’ as James’s primary audience could: for them, his characters were people much like themselves or their acquaintances, moving in a world with which they were personally familiar; for us they are arcadians, unwitting inhabitants of an age of innocence. Even the most contemporary of James’s stories are set about a century ago, in a world that has now vanished, and in vanishing has acquired a special sort of allure it can never have had for those who lived in it.

That allure, however, is an historical accident: we should not make the mistake of supposing that being set in Edwardian England is a necessary adjunct of a ghost story. (One of the most curious instances of this is Susan Hill’s justly-celebrated The Woman in Black. It is a fine ghost story and Nigel Kneale’s TV adaptation did it justice, though the recent film version is quite the worst adaptation of a book I have seen*.


‘Wharfedale’ by John Atkinson Grimshaw

Hill’s story has a strong period flavour throughout, both in style and detail. It opens on Christmas Eve, but in what year?

‘It was wretched weather, never seeming to come fully light, and raw, too. There had been no pleasure in walking, the visibility was too poor for any shooting and the dogs were permanently morose and muddy. Inside the house, the lamps were lit throughout the day and the walls of larder, outhouse and cellar oozed damp and smelled sour, the fires sputtered and smoked, burning dismally low.’

As pipe-smoking (step-)paterfamilias settles himself in his armchair by the fire, with the Christmas tree ‘candlelit and bedecked’, surrounded by his large family, including Isobel, ‘the most sensible, responsible of daughters’

‘only twenty-four years old but already the mother of three young sons, and set fair to produce more. She had the plump, settled air of a matron’

and the two boys, Oliver Ainley and his brother Will,

‘sober young men at heart, but for the time being they still enjoyed all the exuberance of young puppies, and indeed it seemed to me that Oliver showed rather too few signs of maturity for a young man in his first year at Cambridge and destined, if my advice prevailed with him, for a career at the bar’

you could be forgiven for thinking that you were (even at this, the latest point in the story) some time in the reign of Victoria or Edward.

You might be surprised to find a wireless in the house, and utterly shocked if you turned it on to hear Noddy Holder bawling ‘Merry Christmas!’ or the strains of ABBA singing ‘SuperTrouper’ or Pink Floyd’s ‘Brick in the Wall’ – and yet we might, for this is some time between 1973 and 1982, according to the internal evidence of the text**)

That is something of a digression, though it illustrates the influence exerted by the accidental ‘period charm’ of James’s ghost stories – it is a bit like the enthusiasm for ‘retro’ packaging which sees goods presented in containers that recall another age for which (a largely artificial) nostalgia has developed. But this error – mistaking the contingent for the necessary – exists on different levels.

At its least, it is no more than ‘imitating the externals’;  supposing that a ghost story must have an Edwardian setting ‘because all the best ones do’ is no worse than thinking Shakespeare’s plays would be more authentic performed in Elizabethan or Jacobean dress. That, to borrow a term from catholic teaching, is only a venial sin.

The mortal sin, which should concern anyone who aspires to write ghost stories or to adapt James’s, lies in compounding the mistake by drawing a false inference from it, namely that ghost stories must be set in the period when they were written because in those days it was still possible to believe in ghosts. The corollary is that we can’t do that now, and if you want to modernise the setting, you must also modernise the ghost, to the extent of substituting ‘something we can believe nowadays.’

The prime example of this is the recent ‘adaptation’ of  ‘Oh Whistle and I’ll Come to You, My Lad ’, starring John Hurt, the subject of a vigorous discussion on The MR James Appreciation Society Facebook page  The writer in this case has evidently baulked at presenting a supernatural manifestation and has substituted a ‘psychological’ one instead, with an elaborate backstory to explain it, which takes this version so far from James’s original that it is hard to say they have anything in common at all. Where James’s confirmed bachelor Professor Parkins belongs with Messrs Wraxall (Count Magnus) and Paxton (A Warning…) in the category of the unwisely curious (though Parkins at least escapes with his life intact, if not his rational beliefs) Hurt’s Professor Parkin is the victim of personal grief, having lost his wife not to death, but to Alzheimer’s – she is, as I have said elsewhere, the inverse of a ghost – a living person who is effectively dead. The root of Parkin’s malady (which ultimately kills him) is evidently excess of grief and guilt at his inability to care for his wife and the fact that he has had to put her in a home.

There is a rather forced ingenuity in the way that James’s story has been ‘brought up to date’ and  ‘made relevant’ by linking it to contemporary concerns about senile dementia, the increase in the aged population and the growing need for institutional care; but were the concerns of James’s original really so inaccessible to a modern audience?

I think ‘modernisations’ of this sort stem from an erroneous supposition. James did not live in ‘the olden days’ when the sea of faith (as Arnold has it) was at its full: it was no easier to believe in ghosts in his day than it is now; James is as much a child of the modern age as we are ourselves, and it is for that very reason that his ghost stories have something that still resonates with us, something quite other than the accidental allure of their setting.

That James belongs in the modern age is easily demonstrated. As anyone will know who has read his only children’s book, The Five Jars, (published 1922) he invented the iPad:


Albrect Durer Knight Death & Devil

‘It was just like a small looking-glass in a frame, and the frame had one or two buttons or little knobs on it. Wag put it into my hand and then got behind me and put his chin on my shoulder’ ‘That’s where I’d got to,’ he said; ‘he’s just going out through the forest.’ I thought at the first glance that I was looking at a very good copy of a picture. It was a knight on horseback, in plate-armour, and the armour looked as if it had really seen service. The horse was a massive white beast, rather of the cart-horse type, but not so ‘hairy in the hoof’; the background was a wood, chiefly of oak-trees; but the undergrowth was wonderfully painted. I felt that if I looked into it I should see every blade of grass and every bramble-leaf. ‘Ready?’ said Wag, and reached over and moved one of the knobs. The knight shook his rein, and the horse began to move at a foot-pace. ‘Well, but he can’t hear anything, Wag,’ said his father. ‘I thought you wanted to be quiet,’ said Wag, ‘but we’ll have it aloud if you like.’ He slid aside another knob, and I began to hear the tread of the horse and the creaking of the saddle and the chink of the armour, as well as a rising breeze which now came sighing through the wood. Like a cinema, you will say, of course. Well, it was; but there was colour and sound, and you could hold it in your hand, and it wasn’t a photograph, but the live thing which you could stop at pleasure, and look into every detail of it.’

Frivolity aside, James’s engagement with the trappings of modernity is well examined in a fine essay entitled ‘Ghosts, trains and trams: the technologies of transport in the ghost stories of M. R. James’  by Ralph Harrington (apt name for a James scholar). However, it is something more than engagement with technology that characterises him as modern.

The Age of Uncertainty is the title of a book and TV series by the economist JK Galbraith. Although the title alludes to the ‘contrast between the great certainty in 19th century economic thought with the much less assured views in modern times’ it could be argued that the Age of Uncertainty truly begins with the twin revolutions of agriculture and industry that shaped the modern world in the century between 1750 and 1850 and had as profound an effect on the collective psyche as on British society:

‘Constant revolutionising of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.’

(Marx & Engels, The Communist Manifesto, 1848)

What Marx describes in general terms was experienced acutely on a personal level by the Scots poet Edwin Muir, a younger contemporary of James. He was born in 1887 and grew up in Orkney, an island virtually untouched by the revolutions that had transformed Britain; when he was 14, he moved to teeming industrial Glasgow, where his father, two brothers and his mother died in quick succession, an experience that marked him profoundly for the rest of his days:

‘I was really born in 1737, and till I was fourteen no time-accidents happened to me. Then in 1751 I set out from Orkney for Glasgow. When I arrived I found that it was not 1751, but 1901, and that a hundred and fifty years had been burned up in my two days’ journey.’

(Ever after, he equated Orkney with Eden and industrial Glasgow with Hell)

The alienation felt by Muir in an extreme form must have been felt to some degree, more or less consciously, by James and his contemporaries – it is, after all, the theme of the twentieth century – a growing anxiety and disillusion with progress and modern civilisation well expressed in Eliot’s The Waste Land. It remains with us today, after a hiatus in my childhood when the existential dread was that we would destroy the world with nuclear weapons; now, it has reverted to the fear that we will destroy it by our very way of life.

Screenshot 2014-04-04 09.57.54
The Britain of James’s day had grounds for complacency: she was an imperial power unmatched in history, one that reckoned the appropriate strength of her navy in terms of matching the combined strength of any two powers it was likely to combat; she was the workshop to the world, exporting finished goods all over the globe (in 1910-11 my grandfather delivered Mastodon, a Clyde-built dredger,  to Vancouver,  sailing this inshore craft across the Atlantic and round Cape Horn, the additional coal required for the journey piled on deck)


The dredger ‘Mastodon’ in Vancouver

 Meanwhile, the home market was sustained with the abundant produce of a world-wide empire. James himself occupied a bastion of privilege at the heart of the British establishment, as Provost of King’s College, Cambridge, where the gilded youth of Empire went for their education. If you wanted an adjective to describe his own situation, and that of his primary audience, it would be secure.

Yet it is no paradox to find uncertainty in the midst of security; rather, it is human nature. We can sustain hope in the face of adversity and oppression, but security makes us uneasy – not all of us, but certainly the sensitive and the educated: the sensitive fear that things cannot be as good as they seem, that dark things lurk beneath the bright calm surface; the educated have learned that nothing lasts:

Brightness falls from the air;

Queens have died young and fair;

Dust hath closed Helen’s eye

(in Time of Pestilence, Thomas Nashe )

James’s primary audience – his younger contemporaries – were both sensitive and educated. Their enjoyment of their privileged position must have been attended, at some level, by an awareness of its fragility. This awareness could best be termed disquiet, the fear that your trust may be misplaced, that your sense of being unassailable may be ill-founded, the suspicion that what you rely on as most firm and solid may be fragile and illusory. If you wanted to characterise James’s stories in a single word it would be disquieting. A moment from Casting the Runes embodies it:

‘He was in bed and the light was out. He was wondering if the charwoman would come early enough to give him hot water next morning, when he heard the unmistakable sound of his study door opening. No step followed it on the passage floor, but the sound must mean mischief, for he knew that he had shut the door that evening…’

This passes almost unnoticed – eclipsed by the memorable moment of terror that follows – but it is a key incident: something has got in; the defences have been breached; what was out there is now in here (and that means in Dunning’s head as much as in his house) – the threshold has been crossed.

The term ‘liminality’ originates, I believe, in anthropology, and also has a place in psychology, but its derivation connects it with things more ancient than those fields of study and makes it a potent metaphor in the analysis of ghost stories. ‘Limen’ is Latin for a threshold, and in traditional folklore the threshold is a key defence: evil spirits may not cross it uninvited, which is why folktales abound in malign creatures of various sorts trying to wangle invitations from the unwary householder.

The threshold, as the entrance, stands between two worlds; it is a vulnerable point that must be well guarded, but it is also a metonym for the whole house. The house is a strong protection for its inmates, a place of light, warmth and order in contrast to the wild cold darkness outside; and it in turn is a metaphor for the head, in its fullest sense, as the seat of reason, the dwelling-place of our humanity, the capital of our intellectually-constructed world – a Castle of Bone (the title of a fine children’s book by Penelope Farmer, derived, I think, from an Anglo-Saxon kenning); just as we must be careful whom we invite into our house, we should also be wary of what we allow to ‘get into our head’.

The ‘mischief’ that is signified by the sound of the door opening downstairs – in what the listener knows to be an empty house – is no mere burglary: it is the irruption of the irrational, the impossible, the unthinkable – if a door can open without human agency in a house you know to be secure, then anything is possible; none of what you have hitherto trusted unquestioningly holds good. Such epiphanies give the modern ghost story its power: they turn the confident statement ‘that cannot be’ into the doubtful question ‘can such things be?’

Bringing the reader to feel, with the protagonist, that moment of profound self-doubt –  the realisation that the world may not be the realm of enlightened reason that we pretend – is the effect that any modern ghost story must strive for. As James himself remarks, the aim is to

‘put the reader into the position of saying to himself, “If I’m not very careful, something of this kind may happen to me!”’

Casting the Runes is unusual among James’s stories (The Ash Tree is another) in having its protagonist assailed in his own home, though I think that is a good reflection of the malignity of Karswell’s psychic assault. A great many of his stories – a good third – feature inns, and quite a few more are set in large houses where the protagonists are either guests or very recent arrivals; and, for a man who rigorously eschewed any sexual content, there is a remarkable preponderance of bedroom scenes.

That is no accident: inns and other people’s houses are, literally, out of our comfort zone: we do not feel at home there; and as for being in bed, there is no better instance of our outer circumstances coinciding with our inmost self: where else are we more vulnerable, more unguarded, than on the verge of sleep? It is a moment of uncertainty that takes us right back to primeval times, with the wild beasts prowling beyond the cave mouth.

As for religious belief, it plays little part in James’s stories: I can think of only two in which it is used to combat the supernatural, and one of those is an incomplete unpublished fragment. In ‘Canon Alberic’ the presbyterian Dennistoun submits to the popish superstition of wearing the crucifix the sacristan’s daughter gives him for his protection, and it is only when he takes it off that the demon is able to assail him. (The same story has further evidence of James’s sympathy for catholic practice, despite his upbringing and expressedly protestant views – not only is there a beautiful description of the Angelus,

‘A few pulls at the reluctant rope, and the great bell Bertrande, high in the tower, began to speak, and swung her voice up among the pines and down to the valleys, loud with mountain-streams, calling the dwellers on those lonely hills to remember and repeat the salutation of the angel to her whom he called Blessed among women.’

but Dennistoun also arranges ‘saying of Mass and singing of dirges’ for the repose of Alberic’s soul, though he does add  ‘with a touch of the Northern British in his tone, “I had no notion they came so dear.” ‘)

The other story is John Humphreys, an unfinished precursor to Mr Humphreys and his Inheritance, in which the eponymous hero combats the demonic assault by recalling a line that transforms the quotation from Job ‘where [there is] the shadow of death, and no order, but everlasting horror dwells’ into the 23rd Psalm ‘though I walk in the shadow of death (no evil shall I fear)’:

‘The only words he could summon were words of fear, that he had read that morning. They droned through his head incessantly, “ubi umbra mortis et nullus ordo sed sempiternus horror inhabitat“. Over and over again they came back and he felt himself being sucked away from the world of men, and indeed he does not see how he could have helped yielding to the strain that was on him, and giving up hope and reason if not life itself, had he not paused on the words umbra mortis. They brought to his mind in a moment the image of some lettering in a brass on a tomb – this is how he puts it – that he had been taken to see years before. “Umbra mortis,” he seemed to say to himself, “to be sure, that was it – etsi ambulavero.” He raised his head and drew breath. “Absurd,” he said again. “Of course that was what I wanted. Dear me. Why couldn’t I think of that before?” The strain was relaxed. He rose to his feet and looked about him: the field was its own familiar self again and the sun bright in the sky. An exaltation of spirit came upon him which he could hardly repress, and he does not know what surprises of laughter and singing he may have inflicted on casual hearers as he went home.’

In two other stories - An Episode of Cathedral History and The Residence at Whitminster, both set in cathedral precincts with a clerical cast – the supernatural threat is accepted as real, but is contained and left alone: the lamia had been safely incarcerated till interference disturbed it (though it is exorcised – successfully, we presume) while Dr Oldys, the Senior Prebendary at Whitminster, frankly admits that the effects of lord Saul are better put safely away in the attic and left undisturbed: discretion and caution, not curiosity, are the proper course, as The Rose Garden also makes clear:  quieta non movere (let sleeping dogs lie). This acceptance and accommodation of the supernatural – basically, acknowledge its power and let it be – does belong to an earlier age: it is the staple of folk tales and ballads, where the devil can be met on the road or may seek entry to your house, but can be guarded against by the proper rituals (as, for instance, outwitting him in a riddle contest, as in The False Knight Upon the Road,

‘I wiss ye were in yon sie,’

quo’ the fause knicht upon the road

‘and a good bottom under me,’

quo’ the wee boy, and still he stood

‘And the bottom for to break’

quo’ the fause knicht upon the road

‘and ye to be drowned’

quo’ the wee boy, and still he stood.

(full variant texts here )

or else by answering his riddles, then naming him, as in ‘riddles wisely expounded

‘Hunger is sharper nor a thorn

and shame is louder nor a horn,

the pies are greener nor the grass

and Clootie’s waur nor a woman was!’

As sune as she the fiend did name

Jennifer gentle an’ Rosemaree

He flew awa in a blazing flame

As the doo flies owre the mulberry tree.’

(slightly variant text here,  and beautifully sung by Jean Redpath here )

But the age in which James is writing is not one to let sleeping dogs (or Lamias) lie; it is the age of boundless curiosity and exploration (the age, let us not forget, of Einstein’s Theories of Relativity (1905 & 1915), of Picasso and Stravinsky, of the birth of much that we think of as modern – the motor car, the aeroplane, the horrors of modern warfare). And though James undoubtedly has a yearning for that earlier age of faith (he was, after all, a mediaevalist to trade) he does not allow it to intrude on his stories or save his characters – Mr Wraxall, in his last extremity

‘…is expecting a visit from his pursuers — how or when he knows not — and his constant cry is ‘What has he done?’ and ‘Is there no hope?’ Doctors, he knows, would call him mad, policemen would laugh at him. The parson is away. What can he do but lock his door and cry to God?’

but it avails him naught. What makes James a modern is that his characters have no protection when the fortress of reason crumbles.


* It is even worse than the film version of The Dark is Rising, an excellent book by Susan Cooper, and that is saying something.

**Jennet Humfrye dies 12 years after her son (p.144) and is buried in the same grave (though for some reason the name on the stone is Jennet Drablow) The date of death is 190- (p.105) so her son died, aged 6 (p.143) some 12 years before – 1888 at earliest, 1897 at latest; so he was born between 1882 and 1891. The letters written around the time of his birth date from ‘about sixty years before’ (p.113) the narrator’s visit to Eel Marsh house, putting that event between 1942 and 1951. The death of his wife and son must happen a year or two later – say between 1944 and 1953. When he first sees Monk’s Piece (the name is an allusion to Masefield’s The Box of Delights, the Christmas story par excellence) he has been a widow for 12 years and is 35 (p.11) putting that between 1956 and 1965; ‘some years later’ (p.13) the house comes up for sale and he buys it to live in with his new wife – say 1959 to 1968; at the time the story opens, he has been living there for 14 years (p.14) so it is now somewhere between 1973 and 1982.


Filed under book-related

The perils and pitfalls of adaptation in the ghost stories of M R James


(‘Young Shepherds at Evening Time’ by Myles Birket Foster)

The usual effect of seeing any film or TV adaptation of a book or story that I like is to send me back to the original, so on that ground alone (assuming I am not the only one so affected) I would say that such adaptations are a good thing. That said, I think that they rarely succeed entirely and are often unsatisfactory; and it is interesting to consider why that should be so.

(This line of thought was stimulated by a discussion on the MR James Appreciation Society group page on Facebook, hence my concentration on James – who is also one of the most-adapted of writers, certainly of ghost stories)

Translating from one medium to another must always come at a price: some things that work on the page do not work on the screen and vice versa. The two most obvious differences between books and films are the constraints of time and the difference of viewpoint.

Most films are somewhere from an hour-and-a-half to three hours long, with around two hours being fairly standard; television is more flexible, since it can broadcast a series of episodes, though as a rule a single programme will be somewhere between half an hour and an hour, occasionally a bit more. A book, on the other hand, can be read at the reader’s own pace, though there is a minimum time that even a fast reader would take and in the case of full-length books it is generally longer than any film. However, in the case of short stories, there is a fairly close approximation between the time it takes to read one and the typical length of a TV programme, so adaptations here might be less problematic in that respect.

As for the viewpoint, there are several points to make. A picture is famously worth a thousand words, and it is certainly true that a scene or description that may take a considerable quantity of text is something that can be shown in a moment on screen. More importantly, film and television depictions are, by their nature, external and objective, whereas writing tends to the internal and subjective. This means that the television adaptation must work harder to achieve the effects that come naturally to the writer – chiefly conveying the characters’ thoughts and feelings, with the latter being of particular importance in ghost stories.

Let us take two instances, both from James, who was an acute observer of certain states of mind, particularly disquiet and anxiety. The first is from an unpublished and incomplete draft of a story called John Humphreys, (the text of which can be found here, on the excellent Ghosts & Scholars website)

‘He felt as well, as unexcitable, as at any time of his life. No, it must be either an accumulation of coincidences or – what was that touching his arm? It might have been a branch, if he had not happened to be in the open field! Whatever it was, the effect was curious: it brought back the dream – he was beginning to think of it as the vision – of the evening before. The homely well known pasture seemed in a moment to widen into an illimitable grey expanse – an acute feeling of extreme loneliness and of being on a hopeless and aimless journey came over him and his whole being cried out for companionship and protection, and yet he felt that there was none, none whatever to be had: he was helpless in a world of hostile shadows. Nothing was interesting any more, nothing was or could be important, and for all that, there was an instant pressure of hurry and no time to stop and think. It was a bitterness of despair which could not, he said, be put into any human words, and he believes he sank down under it and cowered on the ground – fortunately not in sight of any passer-by – and here for how long he couldn’t tell he wrestled for his life and his reason.’

The second is from a published story, A Neighbour’s Landmark: (full text here)

‘I think we must all know the landscapes — are they by Birket Foster, or somewhat earlier?— which, in the form of wood-cuts, decorate the volumes of poetry that lay on the drawing-room tables of our fathers and grandfathers — volumes in ‘Art Cloth, embossed bindings’; that strikes me as being the right phrase. I confess myself an admirer of them, and especially of those which show the peasant leaning over a gate in a hedge and surveying, at the bottom of a downward slope, the village church spire — embosomed amid venerable trees, and a fertile plain intersected by hedgerows, and bounded by distant hills, behind which the orb of day is sinking (or it may be rising) amid level clouds illumined by his dying (or nascent) ray. The expressions employed here are those which seem appropriate to the pictures I have in mind; and were there opportunity, I would try to work in the Vale, the Grove, the Cot, and the Flood. Anyhow, they are beautiful to me, these landscapes, and it was just such a one that I was now surveying. It might have come straight out of Gems of Sacred Song, selected by a Lady and given as a birthday present to Eleanor Philipson in 1852 by her attached friend Millicent Graves. All at once I turned as if I had been stung. There thrilled into my right ear and pierced my head a note of incredible sharpness, like the shriek of a bat, only ten times intensified — the kind of thing that makes one wonder if something has not given way in one’s brain. I held my breath, and covered my ear, and shivered. Something in the circulation: another minute or two, I thought, and I return home. But I must fix the view a little more firmly in my mind. Only, when I turned to it again, the taste was gone out of it. The sun was down behind the hill, and the light was off the fields, and when the clock bell in the Church tower struck seven, I thought no longer of kind mellow evening hours of rest, and scents of flowers and woods on evening air; and of how someone on a farm a mile or two off would be saying ‘How clear Betton bell sounds tonight after the rain!’; but instead images came to me of dusty beams and creeping spiders and savage owls up in the tower, and forgotten graves and their ugly contents below, and of flying Time and all it had taken out of my life.’

There is a striking similarity between the two passages, though I feel the second is much superior. In both, the change is wrought in an instant – by a fancied touch in the first, a sound in the second – and the effect is similar: anyone who has felt it will recognise the accuracy of these descriptions of sudden dysphoria, the sense that no pleasure is to be had from anything, and all the goodness has drained out of life. The difference in quality is reflected in the balance of the two pieces: the first is about half the length – 221 words against 428 – and a single sentence suffices to tell Humphreys’ prior feelings: ‘He felt as well… as at any time of his life’ while the description of the sense of bleakness that descends on him runs to some eight lines or more (112 words – more than half the total) and his reaction is extreme and dramatic – perhaps overly so. In the second piece, 215 words is devoted to evoking the mood of ruminative well-being, reinforced by another 69 words after the intrusive noise, which cleverly reprise the mood by saying what is no longer there; the demolition of this carefully-constructed edifice of wellbeing comes in two and a half concentrated lines ( a mere 38 words) at the end: ‘images came to me of dusty beams and creeping spiders and savage owls up in the tower, and forgotten graves and their ugly contents below, and of flying Time and all it had taken out of my life.’

To be fair, their states of mind are not identical – Humphreys is already troubled in the first piece, the narrator of the second is not – but the real point of interest is how either of these could be effectively translated to the screen. The second, in particular, is a very subtle piece of writing, conveying as it does a great deal of the narrator’s character and tastes – he is refined, witty, a scholarly bibliophile inclined to mock his own predilection for conventionally sentimental pictures; it comes as no surprise to find that beneath this contented veneer there lurks a sense of disappointment and loss. It is a passage that epitomises a great deal of the pleasure to be had from reading James, and it is hard to see how that subtlety could be satisfactorily translated to the screen.

For a start, the actual supernatural element – ‘a note of incredible sharpness, like the shriek of a bat, only ten times intensified’ – is not at once recognised as such – it is dismissed as ‘Something in the circulation’ – in other words, he takes it to be subjective, inside his head, only to realise – when it is repeated an instant later – that it is objective, external. On screen, the first presentation of the sound (which the viewer would have to hear too) will inevitably seem objective and dramatic – we will feel at once that it is significant – so that its depressing effect, even if it could be conveyed (by the light going off the landscape, say, accompanied by an expression of disappointment), will be overwhelmed and lost.

So much for technical difficulties caused by the difference in medium; much more could be said, but I hope I have highlighted some of the key problems. However, there is another aspect I would like to consider, one that has a particular bearing on James, and that is the matter of faithfulness to the original.

The question that arises here has a much broader application, and indeed applies to any adaptation: it is not simply how far one is obliged to be faithful to the original, but rather what ‘being faithful to the original’ actually consists of. The initial thought is that you ought simply to follow the letter of the original as closely as possible: you should have the same characters, in the same setting, at the same period, with the same action and dialogue; then surely you can’t go wrong?

But as soon as you attempt this approach, you will find it is not so simple. I may discuss this more fully some other time, but fundamentally, the way you tell a story in writing and the way you tell it on the screen are different, so in order to tell the same story you actually have to go about it in a different way. This then raises the question of what makes it the same story – and here, in contrast to the previous approach, we are aiming for faithfulness not to the letter but to the spirit.

An illustration: recently, the MR James Appreciation Society page carried a link to a fine adaptation of James’s The Mezzotint. It is called The Photograph, and is by Tim Hall – it can be viewed here (and is well worth a look). Yet in it, no single detail of the original survives: it is set not only in a different time and place, but another continent, with different characters and a different back-story, yet for all that, I would call it a faithful adaptation, and a good one, too. We can see this if we strip away the flesh from the skeleton, so to speak, and move from the specific details – which differ – to the underlying general structure, which is identical in all respects that matter.

The supernatural agency is the same: both versions centre on a picture that changes, and in changing tells a story; in the original, it is a mezzotint; in the adaptation, a digital image stored on a camera. The story in each case is of an injustice (inflicted by the powerful on the weak, as it generally is) avenged from beyond the grave, the vengeance in both cases being the taking (and presumed destruction) of an infant. In the original, a poacher (of an old but impoverished family) is hanged by the Squire and his line is extinguished; his ghost retaliates by ending the Squire’s line by making away with his sole heir. In the adaptation, the larger crime of genocide against Native Americans is the injustice that is similarly avenged. In both cases, once the story has been told and ‘witnessed’ it ends: the mezzotint does not change again; the digital picture is simply lost from the file.

This, I think, is a good case of preserving the essentials, and the spareness of the adaptation – there is nothing superfluous there, no speech at all – is a key component to its success: it is hard to imagine a full-blown TV adaptation daring to be so economical in its narrative.

By contrast, the adaptation which provoked the original Facebook page discussion – the version of ‘Oh Whistle and I’ll come to you ’ with John Hurt – preserves nothing at all that is essential to the original, and as several people pointed out, were the link not expressly made with the James story in the title and the presentation, few would think to make it.

I am grateful to Wikipedia for the following plot summary, as the details of the Hurt version had become vague in my recollection, though my sense of it as unsatisfactory remains strong:

‘In this version, retired astronomer James Parkin goes on a respite holiday after leaving his aged wife (who appears to be in the advanced stages of senile dementia) in a care home. When revisiting one of their favourite coastal towns during the off-season, he discovers a wedding ring on the beach, which he keeps. The ring is inscribed (as was the whistle in the original story) with the Latin words for “Who is this, who is coming?” (though in this version, Parkin wrongly translates it as “What is this thing that’s coming?”). Parkin reads the words out loud. He then sees a white clad figure in the distance on the beach, but as he walks away, the figure has got closer to him each time he turns to look back. Panicking, he then runs back to the hotel he is staying at.

Later that night, he is awoken by scratching noises and somebody trying to enter his hotel room, but the following morning he is told that he was actually alone in the hotel all night with no other guests or even staff present. Though his academic mind refuses to acknowledge the existence of the spiritual or supernatural (he refuses to believe in the idea of his wife’s spirit being trapped in her almost functionless body like a “ghost in the machine”), he becomes increasingly uneasy during the remainder of his stay at the hotel and makes plans to leave.

The night before he is due to depart, he is once again awoken in the night by noises at his door, sending him into a panic. This time, a spectral apparition enters his room from underneath the door. Parkin shuts his eyes in terror and implores the apparition to leave him alone, but as he opens his eyes he sees a figure sitting on the end of his bed. The figure appears to be his wife, who says over and over again “I’m still here” as Parkin tries in vain to escape. The following morning, Parkin lies dead in his bed, while his wife is no longer to be seen at the care home.’

I remember thinking at the time that this was quite a moving story in its own right – and Hurt is ever a watchable actor – but that its association with James was both unwarranted and unnecessary: unnecessary, as it was good enough to stand on its own, and unwarranted, because (unlike the Mezzotint example above) it preserved nothing that was essential to the original, so that the incidental details it did preserve (a similarity in the setting and the manner of the supernatural visitation) seemed gratuitous and even baffling.

The original James story (full text here) sits in the same category as A Warning to the Curious and Count Magnus: all three concern people who meddle with what would have been better left alone and pay a heavy price, though Parkins (his name in the original – why the slight change in spelling in the adaptation?) at least escapes with his life, though his scientific rationalism is severely shaken. The Hurt story is about personal grief and guilt, so the fact of his being a rational scientific academic has no bearing – what shakes Parkins is that the terrifying manifestation he experiences seems to be the result of his having blown the whistle, a possibility he cannot countenance; in the Hurt story, Parkin has ample cause to be troubled in his mind – grief and guilt – but why this should result in a spectral manifestation that pursues him down the beach is anyone’s guess.

Indeed, it is notable that the Hurt version actually conflates two separate incidents in the James original: as Parkins is walking home, having found the whistle,

‘One last look behind, to measure the distance he had made since leaving the ruined Templars’ church, showed him a prospect of company on his walk, in the shape of a rather indistinct personage, who seemed to be making great efforts to catch up with him, but made little, if any, progress. I mean that there was an appearance of running about his movements, but that the distance between him and Parkins did not seem materially to lessen. So, at least, Parkins thought, and decided that he almost certainly did not know him, and that it would be absurd to wait until he came up. For all that, company, he began to think, would really be very welcome on that lonely shore, if only you could choose your companion. In his unenlightened days he had read of meetings in such places which even now would hardly bear thinking of. He went on thinking of them, however, until he reached home, and particularly of one which catches most people’s fancy at some time of their childhood. “Now I saw in my dream that Christian had gone but a very little way when he saw a foul fiend coming over the field to meet him.” “What should I do now,” he thought, “if I looked back and caught sight of a black figure sharply defined against the yellow sky, and saw that it had horns and wings? I wonder whether I should stand or run for it. Luckily, the gentleman behind is not of that kind, and he seems to be about as far off now as when I saw him first. Well, at this rate he won’t get his dinner as soon as I shall; and, dear me! it’s within a quarter of an hour of the time now. I must run!”

His ‘I must run’ is jocular: in a typically Jamesian touch, what he has seen makes less impression on him than on the reader, who already thinks it rather more than a late-evening stroller on the beach. It is when Parkins has retired to bed – after having blown the whistle and experienced a sudden blast of wind that blows the window open – that his imagination conjures the image of a man pursued by a spectre along the beach:

‘What he saw was this:

A long stretch of shore–shingle edged by sand, and intersected at short intervals with black groynes running down to the water–a scene, in fact, so like that of his afternoon’s walk that, in the absence of any landmark, it could not be distinguished therefrom. The light was obscure, conveying an impression of gathering storm, late winter evening, and slight cold rain. On this bleak stage at first no actor was visible. When, in the distance, a bobbing black object appeared; a moment more, and it was a man running, jumping, clambering over the groynes, and every few seconds looking eagerly back. The nearer he came the more obvious it was that he was not only anxious, but even terribly frightened, though his face was not to be distinguished. He was, moreover, almost at the end of his strength. On he came; each successive obstacle seemed to cause him more difficulty than the last. “Will he get over this next one?” thought Parkins; “it seems a little higher than the others.” Yes; half climbing, half throwing himself, he did get over, and fell all in a heap on the other side (the side nearest to the spectator). There, as if really unable to get up again, he remained crouching under the groyne, looking up in attitude of painful anxiety.

So far no cause whatever for the fear of the runner had been shown; but now there began to be seen, far up the shore, a little flicker of something light-coloured moving to and fro with great swiftness and irregularity. Rapidly growing larger, it, too, declared itself as a figure in pale, fluttering draperies, ill-defined. There was something about its motion which made Parkins very unwilling to see it at close quarters. It would stop, raise arms, bow itself toward the sand, then run stooping across the beach to the water-edge and back again; and then, rising upright, once more continue its course forward at a speed that was startling and terrifying. The moment came when the pursuer was hovering about from left to right only a few yards beyond the groyne where the runner lay in hiding. After two or three ineffectual castings hither and thither it came to a stop, stood upright, with arms raised high, and then darted straight forward towards the groyne.

It was at this point that Parkins always failed in his resolution to keep his eyes shut. With many misgivings as to incipient failure of eyesight, overworked brain, excessive smoking, and so on, he finally resigned himself to light his candle, get out a book, and pass the night waking, rather than be tormented by this persistent panorama, which he saw clearly enough could only be a morbid reflection of his walk and his thoughts on that very day.’

There is a certain irony in the fact that James makes better use of the cinematic form in conveying Parkins’s waking dream than the TV version does in trying to realise his story. Much of the effect here depends on the reader’s being several steps ahead of Parkins, who still feels secure in his rational explanation that what he is experiencing is no more than the result of overexcitement: it is our flesh that creeps, not his. Compared to that, having Hurt/Parkin actually believe himself pursued by an ambiguous figure, to the point of panic, seems crude and unconvincing.

And the ambiguity of the ending – which I had forgotten – muddies things still further. The source of Hurt/Parkin’s grief is that his wife, though physically present, is effectively absent: she is almost the opposite of a ghost, a living person who is actually dead. If she is ‘still here’ then the implication is that she is still alive, trapped in her failing body, hence his guilt; but if she is now dead, and her death has in some way coincided with the events Hurt/Parkin experiences, in what sense is she ‘still here’? On the contrary, she is no longer trapped, and has nothing to be resentful about; and if Hurt dies as a result, then he too is free and no longer haunted by grief, guilt or anything else.

It seems to me that where this story is at its weakest is precisely where the writer has tried to preserve some connection with the James original: the full potential of the writer’s own conception – a man haunted by the loss of his wife to dementia – is constrained and distorted by an ill-advised and unnecessary attempt to fit it somehow – anyhow – to the framework of the James original.

My own surmise is that the tale was commissioned as an M R James adaptation to draw on the established tradition of broadcasting his stories at Christmas, so had to be presented as such, but that the writer could not make it work – and why that might have been is matter for another day – but I have no doubt that it would have been better had it been freed entirely from any Jamesian connection.

This is a topic to which I shall return.


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