There can be few of my generation who remain immune to the works of Joni Mitchell and David Hockney. I’m not saying you have had to love them, or even like them; merely that you must be aware of them and respect them. Joni’s songs, Hockney’s paintings and drawings, have measured out our lives. They are legends.
 
The image is from 2019, when it apparently “commandeered the internet”, but my politics, baseball and Dylan-obsessed Twitter feed failed to alert me at the time. So it was only this week that a random re-tweet brought it full screen on my iPad. It was minus four outside at the time, and the weather as bleak as our mood. We were in the middle of a pandemic and in lockdown. We were desperate for some colour in our lives.
 
This remarkable picture, a snapshot really, provided it. I printed it out for Jill to frame so that we could have a constant reminder of the happiness and contentment it epitomizes. (A thing of beauty is a joy forever.)

It is about ageing, about life, about colour.
 
And this despite the fact that Hockney has recovered from a stroke and Joni is suffering from Morgellons Disease and had to learn to walk again after a brain aneurysm.
 
So it is a powerful representation of optimism, of determination, of commitment to living. And of friendship and companionship and shared interests.
 
I re-post it now for those who haven’t seen it and need to see it. Which is all of us.

Today from the everysmith vaults

​Coincidentally, on the morning after I had first seen it, I came across a website which was featuring the original demo takes of The Hissing of Summer Lawns, Joni’s 1975 album which eschewed the confessional voice of earlier recordings and introduced jazz, rock, sampling. But the demos were acoustic: her beautiful voice, piano and guitar. It came to me with the title The Seeding of Summer Lawns which I love. I commend it to you.

​Crow Court by Andy Charman is greater than the sum of its parts, of which there are fourteen. Each might stand alone – and indeed a couple have been published as such. But it is in this form, in this novel, that the short stories, with their precise observations of people and landscape, are integrated and interwoven to create the diverse community of Wimborne Minster between 1840 and 1863.
 
It is a fascinating read, which I can’t tell you too much about without triggering a spoiler alert. But it begins with marriage plans and the apparent suicide of the chorister scheduled to perform a solo at the ceremony. And this is closely followed by the murder of the choirmaster, which prompts suspicion and relief in equal measure throughout the town. What follows is the long search for justice, examining the suspects and their relationships.
 
So it’s a murder mystery. But it is also a description and an examination of a changing way of life in a provincial town, with its class consciousness and power structures, its received pronunciation and its ‘Dorzet’ dialect. Dorset in general and Wimborne in particular are central to the narratives. This is not a story that could be transported to any other part of the country: its truths, its authenticity, stem from its sense of place, which we see from the inside and the outside.
 
Nor could it be transported into another era. In 1840, Victoria is on the throne and the Victorian Age is off to a flying start. The railways are opening up the provinces, welcome to some, frightening to others. And by the end of the book, Darwin’s Origin of Species has been published. This new world-view reaches Wimborne as the story evolves to its conclusion.
 
So it’s a history book also. A social history. It is possible to read it as a form of allegory, with characters ‘representing’ their class, their status, their position. Don’t. They are far from stereotypes. Characters are developed with a gentle, nuanced, understated accumulation of detail over many episodes and more years.
 
I read Crow Court in a single sitting. I shall read it again because Andy Charman’s beautiful prose belies the issues of his subject matter. I shall read it again because it works on so many levels and I know it will repay my attentions. I shall read it again in order to master the Dorzet dialect, for which a glossary is helpfully included, as fascinating to read as an Amis footnote. Jill and I have already adopted ‘dewbit’ to describe our first morning meal.
 
Most of all, I shall read it again because it’s without doubt my book of the month and will probably be my book of the year. Unless I am very fortunate.
 
 
Today from the everysmith vaults: Yesterday was the birthday of Franz Schubert. I am celebrating with the String Quartet #15, played by the New Orford String Quartet.
 

Prompted by an excellent Radio 4 dramatization of The Plague, I have been re-reading the Camus novel for the first time in maybe thirty years. And this time round, for me, it is more powerful, more frightening and more relevant, on both a literal and an allegorical reading, than before.
 
Before, I read it as an allegory of the struggle against Fascism. I was not alone in this; indeed, I was in good company. Barthes, Sartre, de Beauvoir all saw it this way, and criticised Camus for using allegory to address such an issue. Too trivial, too slight, too frivolous for such gravity. It is a criticism which could equally be levelled at Orwell.
 
This time, I found myself – it was neither conscious nor deliberate – reading it as a straightforward narrative, taking it at face value.
 
Of course, I noted the parallels and prescience, permitting myself a smile of recognition at references to face masks, to death counts, to the quarantine precautions, the dithering and delays of the authorities.
 
But it is also a story, and a damn good one.
 
It is the history of an outbreak of plague in the town of Oran.
“The town itself, let us admit, is ugly”. Its inhabitants are bored and boring, living an abstract, tedious, routine-filled existence; what Heidigger called “everydayness”.
 
But Jean Tarrou, the communist turned pacifist who is instrumental in the volunteer resistance, records, “I am determined to be the historian of those who have no history”.
 
The plague, the Absurd, transforms the everydayness. Gradually, reluctantly, the Oranians come to realise that they must succumb or fight. No-one can remain indifferent to the indifference of the universe.
 
At first, the townsfolk complain about petty, personal discomforts. They are “like everybody else, wrapped up in themselves”. They believe that their own specific suffering is more important than the communal suffering.
 
But soon, they begin to recognise that the plague erases each individual life: “a feeling normally as individual as the ache of separation from those one loves suddenly became a feeling in which all shared alike”.
 
It is a community issue, that it must be fought by each individual on behalf of all. The protagonist, Doctor Rieux, is one of those who choose to fight, to rebel, on behalf of the community.
 
Rieux and his comrades pursue their fight against this suffering each in his own way. But each of them knows that it is futile. Each of them knows that it increases the chance of contracting the disease.
 
Of course, each of them also knows that they can contract the plague even if they do not nothing.
 
So they choose to do something in the full knowledge that it is useless, futile, pointless.
 
It is a meaningless choice. But the plague frees them to make it.
 
Because, as Camus wrote, it is “the wine of the absurd and the bread of indifference which will nourish (human) greatness”. 
 
Today from the everysmith vaults: Emma Swift's Blonde On The Tracks. It's the songs of course, but it's also and primarily that voice.

Whereof one cannot speak, thereof one must remain silent. Friends have alerted me to the fact that it is more than 100 days since I last posted at Not Dark Yet: in other words, not a single post during the quarantine. True, I have had more time at my disposal but I have wasted these weeks. I have been musing rather than thinking, reading more than writing, drinking more than eating. And those issues which I cannot discuss, I have consigned to silence. Now, due to popular demand, I give you what has kept me going during these 100 days or so:
 
 
Angst and Anger
 
But primarily anger.
 
Anger at the sheer incompetence of this government – the lies, the procrastination, the inability to ensure the most elementary of precautions – testing? tracing? supporting? - until it is too late.
 
Anger at the sacking of Rebecca Long-Bailey, based on a malicious conflation of legitimate concerns about the actions of the Israeli government with anti-semitism. It allows Netanyahu free rein to continue with his annexation. It diminishes the cause it claims to espouse.
 
Anger at the media – not solely for what it is telling us, but what it is not.
 
 
Words
 
Other people’s words. As ever, I have been reading and re-reading a great deal of crime novels and thrillers, notably Don Winslow’s The Force, a morally nuanced policier which I commend to everyone. But I have also managed to force my brain into gear in order to understand Carolyn Steedman’s History and The Law: A Love Story. What I relished in these essays on the minutiae of interactions between the two disciplines is the focus on the lives and works of ordinary people. It is what Carolyn does best, and never better.
 
I have also been listening to words. Podcasts and audio books are the soundtrack to my daily route marches around the parks of Leamington. Joyce’s Portrait of the Artist as a Young Man, which I read as a chore as a young man, illuminated a couple of cloudy days along the river. Joyce promised that his life and writing would be based on “exile, silence, and cunning”.
 
I wish those words had registered with me 50 years ago.
 
​
Music
 
The lethargy-inducing impact of the lockdown has been mitigated significantly by Bob. First, he gave us three pre-releases from the new album, Rough and Rowdy Ways. And then, the new album itself. If we thought the plethora of allusions in Murder Most Foul or the exquisiteness of I Contain Multitudes was sufficient raw material for exegesis, it’s because we hadn’t then heard Key West. I am still playing this album a couple of times a day, still learning and enjoying as it reveals more on each listening.
 
(By the way, was anyone else confused by Bob’s reference to playing the Moonlight Sonata in F# rather than C# minor? I have since discovered that F# is urban slang for ‘fuck off’! Not many people know that. Or perhaps you did.)
 
 
Family, Friends and Other Bubbles
 
The family are fine – thanks for asking. I have now managed to see my Mum, now in her 94th year, three times face-to-face or mask-to-mask. She lives alone and has no wifi or internet skills. It’s been tough.
 
Most friends, of course, have the means to communicate virtually. And we have relished the apéros, the conversations, the debates on policy, the projections of the 60 game baseball season, the test-and-trace initiatives, the concerns over diminishing cellars, the celebrations of Coventry City’s return to the Championship, and a million other things.
 
Only once have I consciously broken the quarantine advice. Black Lives Matter is a cause which cannot wait and Jill and I were proud to be part of the demonstration in our town. It was, most of the time, physically distanced but emotionally and politically close.
 
The pubs can open on Saturday. Chances are I will call in to one or more during the day, even though my instincts and “the science” say we are re-opening too early.
 
“Do I contradict myself? Very well then I contradict myself. (I am large, I contain multitudes.)”

​“The last quartets of Beethoven are mistakes, absurdities, the reveries of a sick genius. I would burn everything I have composed if someday I wrote anything resembling such chaos.”
 
Being an aficionado of sick genius and musical chaos, I confess I first read these words of George Onslow, the “French Beethoven”, as a compliment. I thought it an honest recognition that everything written before would pale into embarrassing insignificance.
 
Having now heard a piece by Onslow, his string quartet in C minor, Opus 8 No.1, I acknowledge that the world of musicography would not be diminished in any way had Onslow burned everything he had composed.
 
It was a clever juxtaposition by the Consone String Quartet at the Pump Rooms last Friday, as the familiarity of Haydn (Opus 9 No 4) and the banality of the Onslow provided a marked contrast with the sublime complexity of Beethoven’s Opus 131.
 
I first heard the C# minor half a century ago, in a recording by the Amadeus. Since then, I have heard it performed many times – notably by the Petersen, the Emerson and the Lindsays – but the Amadeus has remained my go-to version. Until now.
 
The Consone play instruments with gut strings using early 19th century bows and extracted new (to me at least) sounds without losing the warmth and complexity of the score with its long emotional sweep from opening fugue (beautifully articulated by the Consone) to its charging, dashing, careering finale.
 
Of course, although there are seven movements, the quartet is played without pause. It is seamless, fluid and, ultimately, cathartic. And last Friday, the Consone owned it.
 
 
Today from the everysmith vaults: The Consone has not yet recorded the 131. But on Friday, in the break between the Onslow and the Beethoven, I managed to acquire a CD of Shostakovich’s 4th Symphony by Eugene Ormandy and the Philadelphia. I used to have this on vinyl, and although I’m a Kyril Kondrashin kinda guy when it comes to Dmitri, I have been playing this “essential” re-release and can confirm that it is exactly that: essential.  

Tomorrow, Jewish members of the Warwick and Leamington Constituency Labour Party are organising a vigil outside the Town Hall to support Holocaust Memorial Day. Implicit in this, of course, is support for anti-semitism, anti-islamophobia and anti-racism. It will start at 11am, and I'll see you there.
 
This year, the 75th anniversary of the liberation of Auschwitz-Birkenau death camp, anti-semitism is at the top of the agenda. Or rather, alleged anti-semitism in the Labour Party is at the top of the agenda, with all leadership candidates agreeing to the 10 ‘pledges’ – they are actually demands – put forward by the Board of Deputies.

​You may think, as do I together with Naom Chomsky and Jewish Voice for Labour and Jews Sans Frontières amongst others that there are some issues here. The most succinct rebuttal I have come across is from @blepharon which I circulate here for those who do not follow him on Twitter or read The Canary. 

I am disappointed that our leadership contenders have 'signed up' to these 'pledges'. I am particularly disappointed that a man of the legal calibre of Starmer and the instinctive Labourism of Long-Bailey have kow-towed.

But we understand that this is not to do with an appeal to the Labour membership. It is everything to do with appeasing the liberal elite, who have chosen to use this issue as their focus for attacks on a socialist agenda.

It is a shame that this trivialisation of the issue should be the case. But tomorrow, at 11am, we shall remind ourselves of the real issue.

The holocaust. The six million who died - horribly - under the Third Reich.

My mother, now in her 90s, is one of the last of the generation who was alive when this happened. But we have told our children who will tell our grandchildren who, I hope, will tell their children.

מיר וועלן ניט פאַרגעסן​

Today from the everysmith vaults: I am listening to Bob's shows from 2000 version of the NET. I saw several of these shows in September of that year, but the one that is playing today is from April, in Omaha, Nebraska. It is not solely the acoustic set, but that band is one of the best he has assembled. 

​


Those of you who went to sleep at all on the night of Thursday 12th of December awoke to the news that the country had an unassailable Conservative majority and that even those Tories with whom one could actually have a conversation were no longer in the party or Parliament. All liberal-minded Conservatives had been purged. In the face of this, Labour appeared helpless. Its attempts to bring the country together with a balanced policy was seen as obfuscation. Defeat was inevitable; the scale of that defeat was not. But as Corbyn announced his intention to step down, Labour HQ emails talked of a ‘state of numbness’ and called for a ‘period of reflection’.
 
It occurred to me, as I sat in my very particular state of physical and emotional numbness, drinking red wine on the Friday lunchtime, that thirty years before I had been lying in a coma in the Midland Centre for Neurosurgery and Neurology, midway between two brain operations. In the course of my period of reflection, I considered two things. The first was whether I would prefer to be still in a comatose state, and thus unaware of the unravelling of British democracy; and secondly, the fact that one of the most sophisticated centres of neurology in Europe is now a housing estate. It was the only specialist facility of its kind outside London, but it fell foul of the Conservative Government’s cost-cutting policies in 1996.
 
The NHS and MCNN (specifically Professor Edward Hitchcock) saved my life in 1989 and 1990, and my post-election musings moved on to consider how, despite the rhetoric, the Tories have always looked to undermine the NHS. Austerity in name was the boast of the Tory/LibDem coalition. But austerity has always been the agenda hidden behind the rhetoric.
 
The carefully structured attack on the NHS – starve it, criticise it, privatise it – was our priority at the last election. Our instincts were sound and they were supported by reams of paperwork concerning the trade talks with the US, articles by senior cabinet ministers, and the facts.
 
But it wasn’t enough to overcome the fatuous and simplistic ‘Get Brexit Done’, a slogan straight out of the Steve Bannon/Donald Trump playbook. You may think, as I do, that when a policy is supported unequivocally by Trump, Putin and Johnson, there is clearly something amiss. A great deal amiss, in fact – and I don’t refer to the great deal allegedly negotiated by Boris Johnson against the odds.
 
Here in Leamington, there was no room for argument. We had as our sitting MP the estimable Matt Western. He is a local candidate, independent-minded, intelligent, personable and trusted across the political divides.
 
Yet he managed a majority of less than a thousand, pushed close by a rich-boy Thatcherite Tory from Windsor who bought a house in Warwick and claimed to be local on the basis of his new home and the fact that he went to university locally.
 
I do not need a period of reflection to know for whom I will vote next time. But if the centrists in the Labour Party are to be believed, many will vote for or against the new leader of the Labour Party. ABC, they say – anyone but Corbyn.
 
I am not a Corbynista nor a Corbynite. But I admire his principles and his  policies even as I am exasperated by his stubbornness and refusal to play the game. A different word here, a an emphasis there, and the likes of Kuenssberg, Peston and the JLM would have no factual grounds for their hysterical headlines, no opportunity for wilful misunderstanding. But that’s Corbyn for you. His strengths are his weaknesses when they are being presented by the daily Mail, Express, Sun, Telegraph, Times and yes, even the Guardian.
 
As Alexei Sale points out, the real difference between Johnson and Corbyn is this: “The only people who like Johnson are those that don’t know him. And, conversely, the only people who like Corbyn are those that know him”.
 
Trouble is, in these days of right wing populism, it’s all about reaching out personally, giving the journalists what they want and avoiding serious questioning. This is why, if the ageing, nativist, nationalist, out-of-touch Tory membership got anything right, it was voting in Johnson as leader.
 
They now have five years to regret that decision, but the cost to the country could be immeasurable.
 
For me, the next five years will be five years of struggle against the privatisation of the NHS, the erosion of our human rights, climate change, racism and the return to free market economics.
 
There is more, a hell of a lot more, but this will do for a start.

Happy New Year!

Today from the everysmith vaults: Bob has graced us with his presence only once this year, but his fall tour in the States has been remarkable. Currently listening to the residency at the Beacon Theatre in New York. The stunning new arrangement of Not Dark Yet is only one of the many highlights.

“He’s got a way with words and I do too” said Bob Dylan, referring to the poet, lyricist and his occasional collaborator Robert Hunter. “We both write a different type of song than what passes today for songwriting.” And Hunter felt the same about Bob.  “He’s the only guy I work with who I give the liberty to change things. After all, he is who he is.”
 
It has taken me some little time to get my (dead)head round the death of Robert Hunter, at the age of 78. Many Deadheads paid minimal or no attention to the lyrics of even the greatest songs in the canon. But I did. And the Dead did.
 
When the Dead was inducted into the Rock n Roll Hall of Fame, Hunter – who had never performed on-stage with them – was there, as a fully-fledged member of the band. And if there was occasionally a divergence in the visions of Hunter and Garcia – “For Christ’s sake, we’re a dance band. You might at least write something with a beat!” Garcia told him after perusing another bunch of lyrics – it is Hunter’s work, in for example Ripple, Dark Star, Saint Stephen, Terrapin which define the Dead, the latter being imho, a masterful version of Cavafy’s Ithaca.
 
When Jerry died in 1995, Hunter wrote what encyclopaedist Michael Gray called ‘a super-competent’ elegy:
 
Without your melody and taste
to lend an attitude of grace
a lyric is an orphan thing,
a hive with neither honey’s taste
nor power to truly sting.
 
But there is a case to be made for the true elegy being his collaboration with Bob on Together Through Life.
 
It’s a meditation on mortality and immortality, on the end of America. Beyond here lies nothing; life is hard; it’s all good.
 
How much is Bob’s and how much is Hunter’s? I don’t know, not for sure. But I do know that a stanza such as this must surely come individually and collectively from the relationship that both Bob and Hunter had with Jerry:
 
Ever since the day
The day you went away
I felt that emptiness so wide
I don't know what's wrong or right
I just know I need strength to fight
Strength to fight that world outside
 
Yeh, I know. They are not the best lines either of them wrote. But the sincerity and simplicity and authenticity is enough.
 
Both are clever wordsmiths. Both are masters of their craft. Both write a different kind of song.

But sometimes you don’t have to be a smart-arse for the sake of it.

Today from the everysmith vaults: Terrapin Station from March 1990.

​A week in politics is a long time. A year in baseball can be an eternity. 84 wins and 19 games back of the Evil Empire might be ok in Baltimore, but in Boston it’s pretty much a catastrophe. This time last year, the Sox were about to cruise to our fourth World Series championship in 15 years. This year, everyone’s gone home. And I fear that the off-season will be as disappointing as the regular season.
 
The word is that John Henry started planning (or at least considering) the departure of Dombrowski even as the duck boats were parading through central Boston. Maybe he knew that Dombrowski was intending to do nothing at all during the winter. Just as he had done last winter.
 
Sure, Eovaldi and Pearce got new thank-you contracts before they went on the DL. And you can’t blame DD for the dreadful seasons from aces Sale and Price. But you can blame him for going into the season without a closer (Kimbrel) or a set-up man (Kelly).
 
You can blame him for not reading the runes when we went 3-9 for the first 12 games.
 
And you can blame him for Cashner, the one move he did make at the trade deadline.
 
You had one job …
 
Equally, he can take no credit for the season’s highlight, the break-outs of Rafael Devers and Xander Bogaerts, the latter being my vote for MVP. I predicted that from 3000 miles away.
 
But it won’t be Dombrowski putting together the squad that will bear our hopes in 2019. And it won’t be Theo, either.
 
There are noises coming out of Fenway which suggest that the entire role may be restructured, which implies that we may have someone out of left field. I don’t know.
 
I do know that it must be someone capable of working closely with Alex Cora.
 
I like Cora. I like his cockiness. I like that the players like him. I didn’t like his approach to the 2019 season, especially the regime (or lack of regime) in spring training. And did he really play Benintendi at lead-off? Jeez.
 
It’s going to be a long, hard winter and I’m scared. Scared of losing Mookie and JD. Scared of the implications of ownership’s instruction to stay under the luxury tax threshold. Scared of another season like this last, when we could never really engage with our team, when only Rafi and Xander excited us.
 
But come March 26, in Toronto, all this will change and I’ll be predicting the play-offs with a chance at the series.
 
Why? Because that’s what I always do. Go Sox!
 
Today from the everysmith vaults: 38 years ago yesterday, I schlepped to The Rainbow in North London to see the Dead play a great show. I’m listening now to an SBD (thanks to So Many Roads) and it’s a laid-back West Coast kind of show, with the band on top form. Just as I remember it.
 
P.S. I have been remiss in attending to these posts recently. I apologise. ‘Events, dear boy. Events.’

It’s not dark yet … but it’s getting there. I’m a week into my eighth decade and on borrowed time. I’m not thinking (much) about the inevitable physical and mental decline which kicks in about now and some would say already has. I’m more concerned about the state of my nations, here in the UK and over in New England, the home of the Red Sox Nation.

I will be devoting a column to the fall from grace of the 2018 World Series Champions shortly when I’ve got my head round the sacking of Dombrowski and its timing as well as the underperformance of the team from the start to the probable finish of the season. But right now, with Parliament prorogued, the government in chaos, and the country divided, there can be no doubt about the theme for the week.
 
It is, of course, what Donald Tusk has called “a dog’s brexit”.
 
One of the tangential issues of the ‘debate’ has been the diminishing of language. I am conscious that I have been guilty of this as emotion and anger takes over from reason. But I use this word advisedly: it is a coup: a sudden, illegal, takeover of government.
 
As such, it must be fought by all means.
 
Parliament has made a start. A no deal brexit is illegal. The Court of Sessions has found that prorogation is also unlawful and it is to be hoped that the Supreme Court will, on Tuesday, find similarly. It is worth noting that the English court did not make a ruling about the legality or otherwise of the suspension; like Pilate, it washed its hands of the issue, stating that this was a ‘political’ matter that is the preserve of the ‘politicians’.
 
That is not a judgement. It is not even an error of judgement.
 
It is an avoidance of judgement. It is an evasion of judgement. It is a shirking of judgement.
 
So much for the rule of law.
 
In law, the referendum was advisory. It was not mandatory. The country cannot be held to a promise made by David Cameron a few days before he resigned and retired to his shepherd’s hut to write a book I shall never read but suspect will be exculpatory in the extreme. (And there is a great deal to exculpate, which probably explains the rumoured volume - sheer bulk - of the volume.)
 
In law, the prorogation is unlawful because of its motives and its duration.
 
In law, no-one is exempt from the law. Not even a prime minister.
 
I’m entering this eighth decade with a profound sense of foreboding. But I shall be consoled by the generosity of my family: my Dylan weekend chez Grey and Beattie, our night in the New Forest, my birthday lunch and my life in a cake.
 
Thank you. This decade is on loan from you.
 
Today from the everysmith vaults: As the talk turned to Dylan covers – covers of Bob and Bob covers of others – Ms Beattie introduced us to a version of Absolutely Sweet Marie by Jason & The Scorchers. I have played it at least once a day every day since my return to the UK and suspect I will continue to do so throughout the next decade.
 
​