Night Nurse (1931)

Blue Moon: Down Among the Dead Men with Manchester City by Mark Hodkinson (Mainstream Publishing 1999)

Introduction

A Summer Birdcage

Back then, I didn’t properly understand how you got from here to there. The world was confused and disconnected. It was streets and streetlights, cars and buses, fields and houses, and suddenly you were there. We made it to Maine Road, somehow.

City drew 1-1 with Sheffield United. It was 1971 and I was six years old. A bus ride, and we were back home. I don’t remember the game, only the noise, the overcoats, the rich green of the pitch, the overwhelming magnitude of the event — that people gathered together like this and sang and cheered and created something so much bigger than themselves.

Twenty-five years later. My first match report commissioned by a national newspaper. It could have been at any ground between Derby and Newcastle, such is the approximate patch of a northern football correspondent. It was Maine Road, obviously. It rained. The sky was thick with clouds, the match was dire. City drew 1-1 with Coventry City. Alan Ball, City’s manager, provided the ‘line’ without really trying. At the after-match press conference he almost drowned in his own peculiarly random agitation. He coloured a grey day red, and we were all rather grateful he had. The report is included in this book, since it preceded City’s downfall.

Thereafter, I did not return to Maine Road until the beginning of the 1998-99 season. I had spent the previous season as The Times quasi writer-in-residence at Oakwell, Barnsley, from where I had filed a weekly bulletin. Barnsley, after 110 years in footballs backwater, had been promoted to the FA Carling Premiership. In short, it was a small club suddenly thrust into the big-time. Adopting reverse logic, The Times asked me to take on City in 1998-99, and relate the fortunes of a big club in the small time. This famous club — with two League Championships, four FA Cup wins, two Football League Cup wins, one European Cup-winners cup win — was at its lowest point ever, the third tier of English football.

"Fun like this . . ."

I've finally worked out how to get 180s. (My second this year.) Before the third dart is thrown, you haven't realised that you've already hit two treble twenties with your first two darts. 

The upside of a bad prescription.

Stalag 17 (1953)

The Way We Die Now by Charles Willeford (No Exit Press 1988)

Commander Bill Henderson, Homicide Division executive officer, Miami Police Department, entered Sergeant Hoke Moseley's cubicle, removed the -Miami Herald- from the chair beside the desk, tossed it toward the overflowing wastepaper basket, and sat down heavily. He looked at the sheet of paper on his clipboard and sighed.

"I'm running a little informal survey, Hoke."

"I'm busy right now, Bill. I think I've finally got a worthwhile lead on the Dr. Paul Russell killing."

Hoke's messy desk was littered with a half dozen sheets of bond typewriter paper, supplementary reports, and a red accordion file. He had been drawing diagrams on the bond

paper with a ruler and a ballpoint.

"This is an important survey."

"More important than solving a cold case homicide?"

Bill pulled his lips back, exposing large gold-capped teeth that were entwined with silver wire. "Depends on whether you smoke or not. Have you quit yet?"

"Not exactly, but I'm down to about ten a day. I've tried to quit cold turkey, but the longest I've managed to go was about six hours. Now I time it and smoke a Kool every four hours, with maybe a few extra at night when I watch the tube. If I can hold it down to only ten a day, it's almost like not smoking at all."

Bill shook his head. "I switched over to cigars, but I still inhale, so I'll probably have to go back to cigarettes. After five cigars my throat's raw as a bastard, and I've been coughing up all kinds of shit in the morning."

"Is that the end of the survey?" Hoke picked up a Telectron garage opener device, the size of a king-size pack of cigarettes, and showed it to Bill Henderson. "Know what this is?"

"No, I don't, and no, I'm not finished. This really is important. I attended the new chief's weekly briefing this morning, and he's come up with a terrible plan. He wants to stop all smoking inside the police station. His idea's to set up a smoking area in the parking lot, and anytime you want to smoke you have to sign out for personal time and go out to the lot. Then, when you finish your smoke, you sign back in again and return to your desk or whatever. A lot of guys have already quit smoking, you see, and they've complained to the new chief that smoke from heavy smokers is invading their space."

"What about the men's room?"

"No smoking inside the building, period. That includes interrogation rooms, suspect lockup, everywhere except the outside parking lot."

"It won't work, Bill. Lieutenant Ramirez, in Robbery, smokes at least three packs a day. He might as well move his fucking desk out to the parking lot."

"That's what we tried to tell the new chief. But he figures if he makes it hard on smokers, they'll either cut down radically or quit."

"Does the new chief smoke? I never noticed."

"Snoose. He dips Copenhagen. He usually has a lipful of snuff, but he doesn't spit. He swallows the spit instead."

"That figures. The rule won't bother him any, so the bastard doesn't give a shit about the rest of us. But I don't think a rule that dumb can be enforced. Guys'll sneak 'em in the john or even at their desks."

"Not if they get an automatic twenty-five-dollar fine they won't."

Jesus." Hoke took a Kool out of his pack and lighted it with his throwaway lighter. He took one drag and then butted it in his ashtray. "I lit that without thinking, and I've still got an hour to go." He returned the butt to his pack.

"That's why I'm running this survey, Hoke. If a big majority complains, he probably won't put in the rule. So I'll put you down as opposing the new rule, right?"

"Right. Now let me tell you about this little gadget--"

The Rules of the Game by Georges Simenon (Harcourt Brace Jovanovich 1955)

The vibration of the lawn mower's small motor passed into Higgins's arm, and through his arm into his whole body, giving him the feeling that he was living to the rhythm not of his own heart but of the machine. On this street alone there were three mowers, all more or less the same, all working at the same time, with the same angry sound, and whenever one of them stalled for a moment, others could be heard elsewhere in the neighbourhood.

Shoestring's Finest Hour by Paul Ableman (BBC Books 1980)

I put my ear to the door and listened. Not a sound. I'd already noted that there was no light showing under the door. Was it safe? I had to take that chance. I reached forwards for the door handle and grasped it without making any noise. Slowly, with infinite caution, I turned it and eased the door open. Mercifully, it didn't creak. I knew just were to find what I was after.But would I be caught? The consequences could be serious. I peered into the dark room. As far as I could tell it was empty. It had better be. I started across the floor. It was carpeted but the boards beneath the carpet creaked slightly. I froze. I listened. Not a sound. I took another two steps. This time there were no creaks. I paused again and listened. Safe to continue. I took four light but quick steps. Only the hint of a creak. One more advance and I should have it. I estimated it would take another three steps. I took a deep breath and then took those three steps.

Yes! I had it. It was in my grasp —

The light came on and Erica said:

'Put the whisky down, Eddie.'

'Hm? Whisky? What whisky?'

'That whisky - the whisky in the bottle that you're holding. My whisky.'

'I gave you this whisky.'

'Which is what it mine, Shoestring.'

While My Guitar Gently Weeps by Paul Breeze (Futura Books 1979)

It all ended for me just when it should have begun. And if that sounds dramatic it’s because that’s how it’s supposed to sound. I feel sick inside every time I think about it, so sick that I feel like crying, and in the end often do. But it gets me nowhere, there’s no relief afterwards, not even a long time afterwards, when the tears have dried on my blotchy cheeks and there’s not a drop of salt solution left in my body. It’s always there, this sickness, always drying the back of my throat so that I can hardly speak at times, and tying great big knots inside my guts as though some runny-nosed boy scout were in there practising on me, tugging and pulling at my intestines like nobody’s business. Why me? I sometimes think, only just being able to stop myself screaming it out the window. Why the fucking hell did it have to be me? Of all the bands I’ve known, all the guitarists, drummers (though a drummer could have coped, I suppose), why me? But what’s the use in asking pathetic questions, questions with no answers — no answers that I know of at any rate. That’s what I feel like half the time: a walking question-mark. No future, no present, just a past that I can’t forget, that haunts me, leaves me lying awake at nights, staring into blackness until the dazzling headlights of nightshift lorry drivers flash across the ceiling to break my morbid reminiscences, reminding me that I need sleep to face another tomorrow that might bring — what? Hope? Don’t make me laugh. I had hope once, ambition even. No, more than ambition, more than confidence. It was certainty: we all shared it, even in the bad times. I knew we’d make it, had to come one day. It was like evolution, if you like, followed on from one thing to another — naturally. 

The Beiderbecke Connection by Alan Plater (Mandarin 1992)

Prams. Trevor Chaplin decided, were not what they used to be. When he was a lad in the North-East, prams were vehicles of substance, designed by the spiritual descendants of Brunel and Stephenson, and built by time-served craftsmen, wise old welders, blacksmiths and sheet-metal workers with grey-flecked hair. A pram was high, wide and handsome. It would scrape the paintwork on both sides of the hall simultaneously. On the road it would carry, with ease, the designated baby, plus a week's groceries, a couple of footballs, supplementary kids hitching a lift, fish and chips for the family and still have room left over for a bag of coal.

A Working Stiff's Manifesto: A Memoir of Thirty Jobs I Quit, Nine That Fired Me, and Three I Can't Remember by Iain Levison (Random House 2002)

I have a job. Here we go again.

In the last ten years, I’ve had forty-two jobs in six states. I’ve quit thirty of them, been fired from nine, and as for the other three, the line was a little blurry. Sometimes it’s hard to tell exactly what happened, you just know it wouldn’t be right for you to show up any more.

I have become, without realizing it, an itinerant worker, a modern-day Tom Joad. There are differences, though. If you asked Tom Joad what he did for a living, he would say, “I’m a farmworker.” Me, I have no idea. The other difference is that Tom Joad didn’t blow $40,000 getting an English degree.

And the more I travel and look around for work, the more I realize that I am not alone. There are thousands of itinerant workers out there, many of them wearing business suits, many doing construction, many waiting tables or cooking in your favorite restaurants. They are the people who were laid off from companies that promised them a lifetime of security and then changed their minds, the people who walked out of commencement with a $40,000 fly swatter in their hands and got rejected from twenty interviews in a row, then gave up. They’re the people who thought, I’ll just take

this temporary assignment/bartending job/parking lot attendant position/pizza delivery boy job until something better comes up, but something better never does, and life becomes a daily chore of dragging yourself into work and waiting for a paycheck, which you can barely use to survive. Then you listen in fear for the sound of a cracking in your knee, which means a $5,000 medical bill, or a grinding in your car’s engine, which means a $2,000 mechanic’s bill, and you know then that it’s all over, you lose. New car loans, health insurance, and mortgages are out of the question. Wives and children are unimaginable. It’s surviving, but surviving sounds dramatic, and this life lacks drama. It’s scraping by.

It wasn’t supposed to be like this. There was a plan once, but over the years I’ve forgotten what it was. It involved a house and a beautiful wife and a serviceable car and a fenced-in yard, and later a kid or two. Then I’d sit back and write the Great American Novel. There was an unspoken agreement between me and the Fates that, as I lived in the richest country in the history of the world, and was a fairly hard worker, all these things would just come together eventually. The first dose of reality was the military. I remember a recruiter coming to my house, promising to train me in the marketable skill of my choice, which back then was electronics. I remember the recruiter nodding vigorously and describing all the electronics that the army was currently using. They would train me and train me, he said.

The People of Providence: A Housing Estate and Some of Its Inhabitants by Tony Parker (Picador 1983)

A fair-haired young woman in a gaberdine mackintosh crossing the pedestrian shopping precinct in Robins Walk stopped with a polite smile.

— Sorry love but if it’s insurance we’ve got more than enough thanks.

A book? About Providence Estate? Go on, you’re joking! Really? Blimey, that’ll be a job! I must read it, when’s it coming out? Oh I’ll not be here by then I shouldn’t think. Mm? Well, if I could think of one word to tell someone what a place is like. ..

‘Mixed’? Well yes, that’s one word for it, I think that’s about right that is, ‘mixed’. ‘Mixed’ — how do I think he meant? Well you know . . . I mean, there’s all sorts of people here all together, isn't there? I should think that’s what he meant. You’ve got people who do what you might call hard physical sort of jobs, those that work in the docks or on the building sites — the what do you call them, ‘manual workers’ is it? Then you’ve got the people who work in offices and banks and shops and that. Then there’s those who're the sort of posh ones, posh jobs like lawyers, there’s quite a few of that sort lives around here, it's surprising. And teachers — and old people — and families — people living on their own — and kids, a big lot of kids. Happy people and sad people and odd people and peculiar people — a big sort of mixture, so that’s absolutely the right word for it that is, yes . . . ‘mixed’.

An elderly man with the collar of his overcoat turned up, coming out of the library, two books by Hammond Innes under his arm.

— It would be extraordinarily difficult for me to try and summarize a place such as Providence Estate in a hundred or a thousand words, so it would be totally impossible to do it in one.

Certainly if somebody has already said to you ‘mixed’ I would say that was an appropriate word, certainly. I couldn’t say precisely what they might have meant, but I should have thought a moment’s glance round would have made it clear because it is instantly visible, isn’t it, how mixed it is?

You have the group of tower blocks over there, then those long six-storey things, I think they call them linear’ blocks over there; then in that direction there are those small maisonette-type low buildings of flats. And if you go through that way you come to the old houses that have been refurbished; and beyond those, ones that aren’t going to be done up and are scheduled for demolition, though heaven knows when they’re going to get on with it. And the prefabs of course, scattered around here and there. . . . So I’d say yes, high-rise towers, long blocks, modern small flats, old places done up, others dilapidated . . . a large ’mixed’ area very obviously, no one could quarrel with the word. And not at all unpleasing to the eye; all in all, not at all.

You’re welcome sir, good afternoon.

Twelve perhaps thirteen years old, the small boy in a royal blue blazer and grey flannels with a too-small cap on his head and a satchel over his shoulder looked thoughtfully into the distance.

— ‘Mixed’? What did they mean, ‘mixed’ how, what sort of way? Did they mean the people or the buildings or what? Funny word to use about the estate isn’t it, really; could mean all sorts of things couldn’t it, to different people? ‘Mixed’. Mm, yeh. . . .

He went on staring into the distance. After a while he began slowly nodding his head.

— Yeh, well, if you come to think of it, that’s quite a good word. I mean like where we are now, standing on the footpath in the middle of the grass . . . you see over there’s the towers, back that way there’s the flats, then there’s the shops and Robins Walk. So you could say if you wanted to that over there where the buildings are, that’s like town, and here where we are, with the grass and the trees, this is like country isn’t it? I mean if you don’t look that way you can’t see buildings and if you don’t listen too hard you can’t hear traffic. So it’s all like a mixture between town and country, right? Not built over everywhere, but not like out in a wood or something either. ‘Mixed' is a very good word, I’d say that was about right yeh.

Do They Mean Us? #21

On this day of days, a nice excuse to post this funny cartoon from the cheeky bastards over at Great Moments in Leftism:

The one failing is that they decided to make the archetypal SPGBer look a bit too much like leading Millie Peter Taaffe. That can't be right.

This Is The End (2013)

Paradise Lost 3: Purgatory (2011)