"Stuff endures"

One of the books that has most stuck in my head in the past year is Ruth Belville: the Greenwich Time Lady, by David Rooney. It's a biography, charming but stretched at less than 200 pages, of a woman famous for one thing. And it's a useful parable for anyone who finds themself in a rapidly, scarily changing industry (hi, fellow journalists!).

Ruth Belville inherited from her mother the business of going once a week to the observatory at Greenwich, having a fine 18th-century pocket watch set to the precise astronomically determined time, and touring the jewellers and watchmakers of London selling them time-checks. Her mother had taken on the task when she was widowed, in the 1850s; Ruth took her place from 1892.

By 1908, when she was the subject of a flurry of press interest, Ruth Belville already seemed an anachronistic curiosity. She should, everyone assumed, have been replaced by modern, telegraph-based electronic synchronisation. But that was expensive, and of variable reliability. Miss Belville, by contrast, charged very reasonably, and always turned up. Her market niche still existed.

The surprise is that Belville continued to make her rounds until 1940, well into the age of the radio and the speaking clock, supported by tradition-minded jewellers. David Rooney draws from this the moral I have taken as the title of my post. The past is still with us, just unevenly distributed, and for the best of reasons. "Stuff endures" - Rooney's nice phrase - because of the inertial power of human affection, and because arrangements can continue to yield rewards even if their original rationale has disappeared.

I have come to suspect that my own job, as a subeditor, is another example of the phenomenon. Subediting - the cutting, polishing and headlining of journalistic text as a separate job - was a natural corollary of hot-metal publishing, in which it was an essential gearing mechanism between reporters and the intricate, inflexible machinery their work drove. Ever since hot metal went, managers and consultants have sought to abolish subs; and yet subs have endured. They have been too useful and too well-established to be easily dispensed with. Those final corrections, that last touch of polish on the writing, all that minute coordination of detail and timing - it's hard to suddenly do without.

Which might give me new hope for my career, except for the fact that stuff doesn't endure for ever. We can't know whether it's 1908 or 1940. But it feels increasingly like 1940. That's what haunts me about Ruth Belville.

The second lump of sugar

In our view, the effect of every policy must first be regarded from the standpoint of the workers of the Nation, and of the poorest and most helpless among them. The charwoman who lives in St Giles', the seamstress who is sweated in Whitechapel, the labourer who stands begging for work outside the docckyard gates in St George's-in-the-East ... The policy which annexes even an Empire, wins an immortal battle, raises this man or that to the Premiership, or sweeps the board at a general election, shall appear to us infamous, not glorious - evil, not good - a thing to weep over, not to acclaim, if it does nothing towards making the lives of these people brighter and happier. On the other hand, the policy will appear to us worthy of everlasting thanks, and of ineffaceable glory, that does no more than enable the charwoman to put two pieces of sugar in her cup instead of one, and that adds one farthing a day to the wage of the seamstress or labourer.

That is TP O'Connor, writing in the leader column of the first number of The Star, his popular London evening paper, in 1888. You can find it quoted in Matthew Engel's Tickle the Public, or wherever learned British journalists grow teary about their trade. I came across it again in The Last Chronicle of Bouverie Street, a 1963 book about the death in 1960 of the News Chronicle newspaper, and incidentally of the Star. While I knew some of the details of the Chronicle's demise - others were shocking; I may blog about them later - the Star's story came as more of a surprise.

At the time of its death, when it was rolled into the London Evening News for no more than the cost of its pension obligations and week-a-year redundancy payments to its staff, the Star had a circulation - and remember this was a London-only title - of about 700,000. In other words, it was selling 200,000 more copies daily than The London Paper now manages to give away. But in 1960, that was only enough to make it the second-best-selling evening paper in Britain. And it had been losing money consistently since 1956. The poorest and most helpless, while numerous enough to make for a substantial readership, were not a demographic attractive to advertisers.

The city and the country's biggest evening paper, it should be noted, was not the London Evening Standard, eventual sole survivor of this three-way fight, but the title into which the Star was merged, the Evening News. The Standard won out not because of sales but because it attracted the most affluent, advertising-friendly readers. In the end, raw numbers are not enough. That might be considered a parable for the age of the unique-user count.

The other thought the story brings to mind is prompted by O'Connor's leader - as a good a manifesto for intelligent populist journalism as anyone could hope for. Here's the thing. If the conventional media were swept away tomorrow, expert coverage and scandalmongering-shading-into-muckracking would probably continue without much interruption. There are bloggers and others for all of that. What it might take a while to rebuild is any organisation with a wide enough reportorial reach, and a deep enough attachment to a wide enough public, to keep an eye on that second lump of sugar.

London letters 1: Doorstep, Forest Hill

This is the first in what improvident ambition says will be a regular Friday photo series: the aim is to seek out interesting bits of lettering on London streets, with a particular relish for stuff that might otherwise be overlooked, and attempt to provide a little historical background.

Our first exhibit is the doorstep of what's now a Red Cross charity shop at 6 London Road in Forest Hill. I've chosen it because it's a splendid bit of Edwardian flim-flam, and because it has a lesson for the many people currently writing about the Death of the English High Street. The tendency when looking at an old photograph, or leafing through an old street directory, is to assume that businesses you haven't heard of are plucky little independents. Not much danger of that with Sainsbury's, which is still the third-largest supermarket group in Britain. According to the firm's fearsomely detailed if excessively twee virtual museum, this branch would have been part of a large-ish London "high-class provisions" chain when it opened; it's not on their list of branches open by 1900, and there were "more than 100" by 1903. Chains and supermarkets may indeed be throttling our high streets; it really would be nice to have a planning system that did more to encourage varied and independent shops; but multiples have existed for a long time, and writing as if they haven't will make you sound like Peter Ackroyd in London: The Biography surveying the modern Fetter Lane:

In the stretch of Fetter Lane which leads directly out of Fleet Street, with, on the respective corners, a bookshop and a computer supplier, is Clifford's Inn, the oldest Inn of Chancery and once the most important edifice in the street. Rebuilt now, and partitioned into offices and apartments, it is situated beside a modern restaurant, the Cafe Rouge, and opposite a new drinking establishment called the Hogshead.

It's a distinctive style, but unless you can match Ackroyd's torrential erudition - he goes on to link this stretch of road to John Wesley, Tom Paine, Keir Hardie, Dryden, Charles Lamb, Samuel Butler, Lemuel Gulliver, Virginia Woolf and "the only cross-eyed statue in London" - probably not one to copy.

(The statue is of John Wilkes, and went up in 1988: here's the PMSA record and photograph.)

War correspondents vs tipsters

Some newspaper-bashing for balance. This is a soldier's cogent explanation of why horse racing ceased during the First World War. Unfortunately, because of C.E. Montague's way with non-RP dialogue, it appears to be spoken by Dick Van Dyke:

The pipers done it. Want to get aht o' pyin' a fair wige to a taht for 'angin' abaht Noomawket 'Eath. It tikes a man o' skill to watch a maw'nin gallop. Not like war correspondin'. Naow use feedin' backers a bag of emowshnal bilge abaht 'eroes an' cheery wounded an' any old muck. A taht must know 'is job. An' wiges accordin'...

-- from "The First Blood Sweep", in Montague's short story collection Fiery Particles.

[Fiery Particles, by C.E. Montague, London, 1923. Scarcely better than the Montague Cockney is the Montague Irishman, distinguished by his fondness for apostrophes and anti-semitism. This collection gives you him at war and at peace. It still manages some penetrating writing, though. The best story is probably "Honours Easy", in which two privileged officers far from the front compete to collect medals. One hunts blue ribbons, the other red. Montague despises them both, but he would never go so far as to transcribe their accents phonetically.]

The Home Office vs the media

The Criminal Records Bureau will "make no apology for erring on the side of caution"; or, to put it another way, for giving 1,500 people the criminal records of those with vaguely similar names. A newspaper that made this kind of mistake -- sorry, "mismatch" -- would expect to grovel publicly and hand over thousands of pounds, perhaps tens of thousands if the namesake's crime was serious.

Now, you can argue that the CRB has a civic responsibility on these matters and the press does not. But the existence of libel exemptions for reports of court cases would suggest the law disagrees with you (look here and scroll down to "absolute privilege").

These exemptions do not, of course, cover accidentally besmirching the innocent. I'm not a lawyer; for all I know, the CRB may be luckier on that one. But it would be nice if they had any requirement to examine the facts and check them with rigour.

The art of taking offence

Working on a regional paper changes the way you read. You begin to scan each text for references to your circulation area; and, although you probably try not to be conscious of it, you prefer the disparaging. Drawing your readers' attention to an insult and then loudly defending them from it promotes the togetherness on which local journalism thrives.

(This may be one reason why maligned and misunderstood places - shitholes, if you want to take the outsider's view - tend to nourish newspapers. Think of Wolverhampton and Dudley, with their paper bigger than the two Birmingham ones combined. Think of Aberdeen, with its two papers each larger than the prestigious Edinburgh equivalent.)

Also to be considered, especially if you're in a shithole, is the frisson of agreement some of your readers will feel at the insult. When I worked in Aberdeen for a few months, a friend told me to read Christopher Brookmyre's A Big Boy Did It And Ran Away, which gives the place several pages of full-on comic crying-down. I tried the local library, but all 23 copies were on loan.

There are five copies of Geoff Dyer's riff on DH Lawrence, Out of Sheer Rage, in all Nottingham and Nottinghamshire's libraries, and only two of them are in Eastwood. A shame, because his curses upon Eastwood and Notts are first-rate: "Lawrence country - north of Shakespeare's county, south of the Bronte country, bang in the middle of motorway country... there is no getting away from the fact that Eastwood is an ugly little town in an ugly little county".

Perhaps Dyer's whitewater-rafting version of the stream-of-consciousness narrative has kept Eastwoodians out. Perhaps it prevented filleting of the book by the people who would tell them to be offended. Or maybe the gatekeepers were distracted by the quality of the other jokes - this is a man who gathers momentum even as he describes depressed inactivity:

It went on for a couple of months. Laura went to work while I stayed home and did nothing. I read nothing and did nothing. I spent most of the time watching TV which may not sound so extreme but this was mornings and afternoons, it was Italian TV and - the clincher - the TV wasn't even turned on.

Something must be done. Do you think we could start a campaign to ban Out of Sheer Rage in Notts? I regret that I have come to the question so late, but the publicity would still surely bring others to the pleasures of this book. We might even get the libraries up to 23 copies.

Scenes from provincial life

'Twelve GCSEs!' said Minnie, marvelling.

'I thought it was thirteen?' said Zelda.

'Hang on,' said Israel. 'How did you know that?'

'It was in the paper,' said Minnie. 'Now tell me this: d'you really no' have hobbies and interests apart from reading? You must have some, eh, young fella like yourself?'

'What?'

'It was all in the paper.'

'What, my whole CV?'

'Yes. Of course,' said Minnie. 'People have the right to know about their new librarian. It's like public office. You were definitely the best candidate, wasn't he, Zelda?'

Zelda was looking Israel up and down in a manner that clearly indicated that she did not believe him to be the best at anything.

'Head an' shoulders,' continued Minnie.

'They published my CV in the local paper?' said Israel.

'Not just yours.'

All my favourite hacks seem to have started in on serial detective fiction. The gentle, old-fashioned sort.

First there was Andrew Martin, a former holder of the coveted "only good thing in the New Statesman" title, who has begun an Edwardian-set "Steam Detective" series -- well-chosen social history, leisurely but cleverly tightening pace, and just a bit too much technical railway information for the comfort of normal readers.

Now there's Ian Sansom, the really, really, really stylish book reviewer. He has begun a series set in present day rural Northern Ireland, under the group title "The Mobile Library", the first volume of which, The Case of the Missing Books, is quoted above. If you were lost, Israel is a north London nebbish, newly arrived as librarian for the town of Tumdrum to find the library is shut and the stock has all disappeared; Zelda and Minnie run what's now his local cafe. Without ever quite uncovering anything, he will reach a solution that allows him to stay in town for the next of the series.

All this must be a side-effect of Alexander McCall Smith. Suddenly there is an attractive and apparently saleable model for not-quite-big-name writers: you leave a mystery simmering in the corner, to satisfy the sales department, and then you go off and spend the next seven chapters writing what you wanted to in the first place. In time, the mystery readers will discover they prefer it.

Now, I'm in favour of any literary gimmick that keeps Ian Sansom solvent. And as should be evident from the quote, The Case of the Missing Books is funny. It's also all-in-one-sitting readable. It treads a fine line between gentleness and plotlessness, and I'm not sure it lands the right side, but perhaps that will improve as the series goes along. I shall be depressed if such a good comic writer turns out only to be saleable as an about-average producer of crime novels.

Henry James of the PCC. "Isabel looked at her companion in much wonderment; it struck her as strange that a nature in which she found so much to esteem should break down so in spots. 'My poor Henrietta,' she said, 'you've no sense of privacy.'
"Henrietta coloured deeply, and for a moment her brilliant eyes were suffused, while Isabel found her more than ever inconsequent. 'You do me great injustice,' said Miss Stackpole with dignity. 'I've never written a word about myself!'" - Henry James, The Portrait of a Lady
Non-British or non-journalistic readers can find out what "PCC" means here. They are likely to be disappointed.
[The Portrait of a Lady, by Henry James. Adequate praise would require more space and more time than is available on a blog. Wendy Lesser could start you off, though.]

Analysis. "The journalist was frankly dumbfounded when he realized that there was no aspect of this particular problem which he could blame directly on the Government. He merely snapped, 'Why do you tolerate such things? As a nation, we are what we are today because of our lack of positive grip over our affairs. We don't know where we are going or why. It is part of the policy of drift, which is our curse.'" - R.K. Narayan, The Man-eater of Malgudi.
[The Man-eater of Malgudi, by R.K. Narayan, Heinemann, 1961. The man-eater is a rogue taxidermist and former professional strongman, who makes hot the life of a mild small-time printer. Makes me want to read more Narayan soon.]