Steve Smith’s men – Geoff Lemon

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The moment you pick this book up you notice the texture of the printed title, it looks and feels like the sandpaper that caused all the trouble and the crash and burn of Australian cricket in South Africa that March day in 2018. Geoff Lemon has covered the team for many years and this is his analysis not just of what happened in Cape Town but also just how did the Australian national team come to be in this mess in the first place. However as Lemon points out at the start of chapter three

This book is not a detective story. It won’t give you every detail of what happened in the Cape Town dressing rooms…

… Only once careers finish will talk begin. Someone can write the comprehensive history then.

What Lemon does do is look deeply at the team and make as good attempt as can be done now as to what happened and why.

For those people who don’t know the background to this, Cameron Bancroft was seen rubbing the ball with sandpaper to roughen it and make it swing more during the Test Match against South Africa. More details can be found on the BBC website here which details the bans given to Bancroft and also the captain Steve Smith and his vice-captain David Warner after this incident.

However this isn’t just about cricket it is also a look at the psyche of a team that formed an effectively closed group and how harmful attitudes were just amplified as there was nobody from the outside to point out how the worst things became normal and then continued on a downward spiral egged on by certain members. As such it can be read as a useful resume of just how groups can deteriorate if left to their own devices. As Lemon points out the team became self selecting, performance on the field became secondary to being mates and being seen to fit the culture that had been created. At times it reads like a real life Lord of the Flies, and just as self-destructive, no matter how good you were you wouldn’t get in the national team unless you were one of the gang and that gang was so tight knit that they rejected all suggestions that things might be wrong.

Things had been going wrong for years and Lemon looks back over that time not just at the team but also at the governing body, Cricket Australia, to try to track why Australia had become the most disliked team in world cricket. Chapter 21 “Australia’s Cricket Culture” starts with five pages of quotes all riffing on the theme that they “never cross the line” meaning that they play hard but not beyond limits, the problem was that the Australian team wanted to set the limits and wanted them further in the distance for them than their opponents. Although stressing that this was a much older problem Lemon decides to focus of the England tour of Australia over 2017/8 to emphasise the build up to the South African debacle. This was a pretty bad tempered few months with Australia emerging the clear victors so they should have gone to South Africa on a high especially given their record in that country, but things started to go wrong soon after they arrived at the first test match. The sledging on both sides was distinctly unpleasant, Warner had taken considerable offence to references to his wife and this had led to a fight almost breaking out after they left the field which unfortunately was caught on camera. That it was Warner, who is probably the nastiest sledger in world cricket, who took offence is ironic in the extreme but that set the tone for what was to come. The Australians claimed that the attempt to alter the ball in the third test was the first time it had been done but nobody believed them so the one caught along with the captain and vice captain had to go, not because of the cheating, but because they were caught out telling bare-faced lies that just kept the story going. If they had just held a press conference at the end of the day and admitted to what had been done then there would have been fines from the match referee but probably not much more.

The book is not only incisive but funny and difficult to put down, the one problem with it getting a wider readership may well be the frequent use of expletives, the ‘f’ and ‘c’ words appear a lot. Now that isn’t necessarily a bad thing, Lemon is trying to show where things had got to and on-field abuse hurled at the opposition, known as sledging, is often quoted verbatim and this may put off some readers. I think he was justified in the use of language because of the story he is trying to tell and it is a thoroughly good read.

The Communist Manifesto

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I was first introduced to the works of Karl Marx at school. At the age of seventeen the teacher assigned to my year to teach the compulsory Religious Education class (oddly the only subject mandated by law in the UK) decided to take a VERY wide view of his brief. What he decided to do was, as we had already done many years of ‘normal’ RE classes, he would spend a term each on three significant thinkers of the modern age. This was interesting as philosophy was not available as a subject at my school so exposure to the three people he chose was a whole new concept for most of us. We started with Marx, then after Christmas moved on to Sigmund Freud and finally after Easter we reached Jean Paul Satre. We didn’t read The Communist Manifesto at the time (purchasing thirty copies might have been pushing the school governors a bit too much) but did discuss his ideas. I’ve owned this book for three years now so it seems about time I opened it.

A spectre is haunting Europe—the spectre of Communism. All the Powers of old Europe have entered into a holy alliance to exorcise this spectre: Pope and Czar, Metternich and Guizot, French Radicals and German police-spies.

OK that was not how I expected the book to start but all is explained further down the page. What is being pointed out is that Communism at the time was being blamed for all sorts of things without anyone really knowing what it does stand for so the decision was made to have a symposium of international Communists and come up with a manifesto which ultimately came to be written by Marx and Engels. By the way His Most Serene Highness The Prince of Metternich-Winneburg was Chancellor of the Austrian Empire and François Guizot was Prime Minister of France during the time the manifesto was written. It’s safe to assume that whilst almost everyone has heard of Karl Marx and probably to a lesser extent Friedrich Engels almost nobody knows who the two people mentioned in the opening paragraph are any more.

In fact the entire book is nothing like I expected as it isn’t a manifesto as we would now understand the word, which is a document that sets outs a party’s proposed policies and aims in the lead up to an election. Instead it relies more on the original Latin derivation manifestare (to make public) which also comes from manifestus (obvious). What the book is intended to do is make public and obvious the arguments for communism and against the current status quo as seen by Marx, Engels and their grouping that instigated the document. In doing so it is split into four sections after the initial introduction.

The first is entitled Bourgeois and Proletarians. This is an attempt by Marx and Engels to set out their view of the current situation and how we got there with the modern industrialist bourgeois making money out of the work and indeed the lives of their downtrodden workforce proletariat. The irony that Engels is the son of a wealthy industrialist with factories in Germany and England and that it is his money that finances not only his lifestyle but allows Marx to live for the rest of his life without having to do any actual physical work and instead spend a large amount of time writing his later magnum opus Das Kapital in the British Library reading room is completely lost on both of them.

The second section is headed Proletarians and Communists. This is the only section that actually includes anything that can be described as a policy plan in the entire book.

These measures will of course be different in different countries.

Nevertheless in the most advanced countries, the following will be pretty generally applicable.

1. Abolition of property in land and application of all rents of land to public purposes.

2. A heavy progressive or graduated income tax.

3. Abolition of all right of inheritance.

4. Confiscation of the property of all emigrants and rebels.

5. Centralisation of credit in the hands of the State, by means of a national bank with State capital and an exclusive monopoly.

6. Centralisation of the means of communication and transport in the hands of the State.

7. Extension of factories and instruments of production owned by the State; the bringing into cultivation of waste-lands, and the improvement of the soil generally in accordance with a common plan.

8. Equal liability of all to labour. Establishment of industrial armies, especially for agriculture.

9. Combination of agriculture with manufacturing industries; gradual abolition of the distinction between town and country, by a more equable distribution of the population over the country.

10. Free education for all children in public schools. Abolition of children’s factory labour in its present form. Combination of education with industrial production, &c., &c.

Of these the last one is probably the only non-contentious concept. The fourth is yet again an inability of Marx and Engels to recognise irony as both are emigrants to England from Germany but without Engels’ money they wouldn’t have had the leisure time to develop their theories. These policies have been tried to a greater or lesser extent several times by various countries. Sometimes, when taken literally, they have had disastrous consequences such as the application of numbers eight and nine by the Khmer Rouge in Cambodia which started with forced movement of population away from the cities to the land, regardless of whether it was good for agriculture and ultimately led to the genocide of millions.

Even Marx and Engels recognised the difficulty in selling several of these to the proletariat, why should they work hard if the state takes everything they earn above what is needed to live? Most of part two is made up of a question and answer format addressing such points.

Part three, Socialist and Communist Literature, is probably the oddest part of the manifesto. It seems to consist mainly of the authors rubbishing of other movements, they appear to have a particular dislike of German Socialism spending almost 8% of the entire manifesto in a diatribe about its failures.

The final section, with the unwieldy title of “Position of the Communists in relation to the various existing opposition parties”, is a quick bounce around Europe stating where the authors see the state of communism. The manifesto ends with probably the most well known quotes from it, even amongst people who have never read it.

In short, the Communists everywhere support every revolutionary movement against the existing social and political order of things.

In all these movements they bring to the front, as the leading question in each, the property question, no matter what its degree of development at the time.

Finally, they labour everywhere for the union and agreement of the democratic parties of all countries.

The Communists disdain to conceal their views and aims. They openly declare that their ends can be attained only by the forcible overthrow of all existing social conditions. Let the ruling classes tremble at a Communistic revolution.
The proletarians have nothing to lose but their chains.
They have a world to win.

WORKING MEN OF ALL COUNTRIES, UNITE!

An Old Man’s Love – Anthony Trollope

Twenty years or so ago I collected all forty seven novels plus the autobiography of Anthony Trollope in the lovely edition printed by the Folio Society which was the first ever complete edition to be illustrated. These are now long out of print but can still be obtained easily on the second hand market. I admit to having bought them far faster than I have ended up reading them in order to complete the set at the time. I have now read over half but have decided for the purpose of this blog to tackle his final work of fiction, completed before he died in 1882. He was still working on The Landleaguers which was published as an unfinished work in 1893 oddly before An Old Man’s Love which didn’t actually get published until 1894. Both of these are amongst his less well known works, indeed I cannot find an edition of An Old Man’s Love currently in print. Trollope suffered a decline in popularity towards the end of his life and it took sixty or seventy years before his reputation as a great Victorian novelist was restored but even so only about half of his novels are read to any extent today.

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The vast majority of An Old Man’s Love is written as as you would expect although there are passages where the author is talking directly to the reader and Trollope can get quite chatty as in the opening paragraph to the third chapter when we are properly introduced to The Old Man’s love interest.

There is nothing more difficult in the writing of a story than to describe adequately the person of a hero or a heroine, so as to place before the mind of the reader any clear picture of him or her who is described. A courtship is harder still—so hard that we may say generally that it is impossible. Southey’s Lodore is supposed to have been effective; but let any one with the words in his memory stand beside the waterfall and say whether it is such as the words have painted it. It rushes and it foams, as described by the poet, much more violently than does the real water; and so does everything described, unless in the hands of a wonderful master. But I have clear images on my brain of the characters of the persons introduced. I know with fair accuracy what was intended by the character as given of Amelia Booth, of Clarissa, of Di Vernon, and of Maggie Tulliver. But as their persons have not been drawn with the pencil for me by the artists who themselves created them, I have no conception how they looked. Of Thackeray’s Beatrix I have a vivid idea, because she was drawn for him by an artist under his own eye. I have now to describe Mary Lawrie, but have no artist who will take the trouble to learn my thoughts and to reproduce them. Consequently I fear that no true idea of the young lady can be conveyed to the reader; and that I must leave him to entertain such a notion of her carriage and demeanour as must come to him at the end from the reading of the whole book.

But the attempt must be made, if only for fashion sake, so that no adventitious help may be wanting to him, or more probably to her, who may care to form for herself a personification of Mary Lawrie.

And so he continues to give a basic description of the young lady who finds herself an orphan and is taken in to the home of Mr Whittlestaff, initially as an act of kindness because he was a friend of the family and she had nowhere else to go. At the start of the book Mr Whittlestaff is fifty and Miss Lawrie is twenty five although we quickly leap about a year and a half to two years so that she is well settled in the house and Mr Whittlestaff decides to ask her to marry him. Now this she is willing to do, although in truth she loves another, a certain John Gordon who vanished from her life three years earlier without actually declaring his love for her but promising to one day return. Then, on the very day that she agrees to her engagement to William Whittlestaff, John Gordon does come back and arrives at Croker’s Hall intending now that he has made money in South Africa to ask her to marry him.

All this has occurred in the first forty or so pages of the book and so the stage is set for the rivalry between the two men for the hand of Miss Mary Lawrie which is to be played out in the grounds of Victorian manners. Some of the characters favour her becoming Mrs Whittlestaff and yet more favour Mrs Gordon and none are shy about coming forward with their opinion even in front of the three main characters. There are numerous twists and turns before the final conclusion and there is also a sub-plot concerning the housekeeper at Croker’s Hall and her drunken husband which also needs to be resolved in the 172 pages so there is a lot going on considering the relative shortness of this book in the grand scheme of Victorian novels.

Romance is not normally a genre that I would choose to read but I definitely enjoyed this story and whilst Trollope is clearly not at the height of his powers as he was in The Chronicles of Barchester books or the Palliser series, both of which consist of six novels each, it is well written and draws you into the tale of the love triangle.

Hansel and Gretel – Simon Armitage

This was not the book I expected to be writing about at the beginning of June as the publication date is not until the 24th of this month, but on the 31st May a wonderful package arrived and I couldn’t help abandoning what I had been reading and starting on this beautiful volume straight away.

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Simon Armitage has just been made the Poet Laureate for the next ten years and this is therefore his first newly published work since that honour. The poem originally appeared as a ‘libretto’ to a puppet production designed and directed by Clive Hicks-Jenkins which toured England between July and November 2018 but this is its first book publication.

You can see the entire production with the darkly appropriate music by Matthew Kaner, performed by the Goldfield Ensemble here

Clive Hicks-Jenkins has produced a wonderful series of illustrations for this book published by Design For Today. These are clearly based on the theatre production without being limited by his original work.

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The subtitle of the poem is ‘A Nightmare in Eight Scenes’ as the Hansel and Gretel story has been re-interpreted as a modern tale of refugees from a war zone. Without giving too much away the family are starving as the bombs rain amongst them at the start of the book and the parents decide to at least get the children away from there to somewhere where they stand more chance of survival. Hansel and Gretel though mishear their parents planning and think they are simply to be abandoned. This is not the only time that mishearing becomes a plot device in the poem.

As in the original Brothers Grimm tale there is a ‘witch’ and a gingerbread cottage, a trail of stones, a trail of breadcrumbs and abandonment to avoid famine followed by a return only this time without the treasure that would lead to a happy ending. In the modern world of war meted out against helpless civilians there is rarely a happy ending…

The illustrations fit the text so well and the design of the book is beautifully done. I particularly like the colour coding of the words so that you know who is speaking, each character has their own colour as specified in the cast list at the start.

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Oddly I’d never read any Simon Armitage before this but I will definitely be seeking out more of his work. According to his website there are a lot of books to check out

The total production run of this book is two thousand copies, of which one hundred form a further limited edition signed by Simon Armitage and Clive Hicks-Jenkins and which include two extra art prints. Mine is copy number twenty two.

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