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Come Dine With Me

by Stephen Armstrong

This is, without question, the worst middle-class nightmare imaginable. You are hosting a dinner party, you serve an ambitious new recipe to impress your guests but they arrive late, everything goes wrong, the food ends up overcooked, everybody hates it and when you try to feed the leftovers to your cat, it throws up. But at least your humiliation is not broadcast on national television to an audience of almost 4m with your guests marking your cooking out of 10 in front of the cameras.

Welcome to the televised hell of Come Dine With Me, a humble Channel 4 daytime programme that has become a worldwide phenomenon with versions sold to Croatia, Greece, Spain, France, Australia Scandinavia, Germany (where it’s called, with Teutonic menace, Das Perfekte Dinner) and even the United States.

The rules are simple. Four hosts take turns to hold a dinner party with a budget of £125 for all food and drink. Each guest votes on the quality of each meal and the atmosphere created by the host and the winner gets £1,000. Unusually for reality TV, the rules can be interpreted liberally and the production team rarely gets involved. One host spent just £10 on her entire three-course menu and pocketed the rest, while another was so desperate to win that she paid the chef from a nearby restaurant to cook the meal, then pass the foil-covered food through the window.

These eccentricities are demolished by voiceover artist Dave Lamb — dubbed the bitchiest man on TV by the tabloids — with a script prepared by David Sayer, the former political journalist and Jonathan Dimbleby’s producer. Indeed, it is Sayer’s political connections that have pulled together Come Dine With Me’s forthcoming election night special — with three MPs chowing down as the polls close — which will lead into a World Cup Wags special once the tournament kicks off.

It’s a staggering rise for a series that started five years ago and was broadcast every weekday at 5pm on Channel 4 but came off air after the success of Deal or No Deal. In 2007 Helen Warner, the new controller of daytime programming, decided to resuscitate the format and put together a prime-time offering. “I don’t think anyone expected it would explode so quickly,” she says, sounding slightly bemused.

“It holds its own against The X Factor, Dancing on Ice and Britain’s Got Talent and the Saturday slot went from hundreds of thousands of viewers to around 3m. At that point international sales went crazy.”

Helen Barratt, 28, a designer from Chester, knows why. “I — and everyone I know — watches it for the moment when things go wrong,” she explains. “And I love it that they’re all so bitchy about each other. I’m normally eating something crap like crumpets in front of it, so it’s especially good when the cooks are talking as though they’re TV chefs — ‘And this is my secret recipe for enchiladas’ — when really they are a drunk hairdresser from Bolton who keeps on dropping the spoon.”

Rarely a show goes by without some culinary catastrophe — which is given extra piquancy in the celebrity specials that have attracted the likes of Bobby Davro, Edwina Currie, David Gest, Donal MacIntyre and Peter Stringfellow. While Caprice shopping in a supermarket reminded fan forums of Ab Fab, a quick Facebook poll found that the viewers’ absolute favourite was Birds of a Feather actress Lesley Joseph roasting a leg of lamb for four hours but finding the meat was still raw, forcing Rodney Marsh, Paul Ross, Abi Titmuss and Linda Lusardi to ransack her kitchen in search of a new main course.

Or was it actually her kitchen? This month Channel 4 was forced to admit that some celebrities had hired homes to host their party. This annoyed viewers such as Gemma Howard, 38, a teacher from Solihull. “The way the guests get to snoop around the host’s home is the best bit,” she says. “It’s worse than any makeover show. There was one where they found a photo in a drawer of the elderly lady host in stockings, suspenders and basque posing suggestively. It was pure car crash TV.”

Dr Jane McCartney, a psychologist, argues that the show plays into a fundamental human emotion that we’d probably like to pretend wasn’t true — schadenfreude.

“We all do the best we can with parenting or cooking and then we see someone pop up on TV thinking they’re something special at this thing we struggle with,” she explains. “So we love it when they fail. Come Dine With Me has parts of all the most successful schadenfreude shows from the past 10 years — makeover programmes, MasterChef, Big Brother, but to top it all off there’s always a liberal amount of alcohol sloshing around — which adds to the sinful pleasure.”

Hence the respectable gentleman who drank so much that by the time he came to his crêpes suzette he couldn’t tell that he was using a green liqueur instead of orange; the host who got so drunk that she fell asleep and the guests had to cook for themselves; or the guest who hated puddings but insisted on trying them and then spitting any mouthful she didn’t like into her handbag. Interestingly, it’s not always the best meal that wins the contestants’ votes and this behaviour is gradually attracting academic attention.

Chris Dillow, an economist and author of The End of Politics: New Labour and the Folly of Managerialism, says the show is a perfect critique of game theory — a series of rules devised by economists to predict rational behaviour in everyday situations. “The optimum strategy for a guest is to score their hosts zero,” he writes. “This would mean the maximum score one’s rival hosts could make would be 20, which in a normal game would not usually be sufficient to win. If everyone knows this, we end up in a Nash equilibrium in which everyone scores zero; but this never happens. Even contestants who claim to want to win score their rivals reasonably. This suggests that norms of fairness overwhelm selfish optimisation.

“The other problem for game theory,” he points out, “is that the four people are strangers. This means the first host is likely to judged heavily on his food, as the guests barely know him. But later hosts are more likely to be judged on personality as well, as by then the four have gotten to know each other. This can cause diners to regret their earlier scores as when Rachel said that, had she known how big an arse Stuart — the first host — was, she would not have scored him so highly.

“Conventional rational-choice economics typically takes preferences as given, and revealed by choice. However, CDWM shows that preferences are sensitive to the order in which options appear, which raises important issues about the nature of rationality and preferences. Watched even in narrow economists’ terms, it is much more interesting than politicians’ waffle about the crisis.”

Perhaps the contestants can afford to play more casually as the prize money is only £1,000. Even though the sum is small beer in game show terms, it has led to the programme’s biggest tear-jerker. During the 2009 series one contestant, Spencer Uren, announced that his sister had cancer and, if he won the competition, he would donate the money to the hospital treating her. Shortly after filming, Spencer was himself diagnosed with cancer and died. His fellow contestants have since started a charity — Come Dine for Spencer — to raise money for Basingstoke and North Hampshire hospital.

Don’t let that fool you into thinking the show has a heart. As Ben SimmondsGooding, a headhunter from west London, explains: “I love Come Dine With Me for the simple reason that it lets you inside the dinner parties of others, lets you then criticise them and generally come back to the fact that your own personal formula of entertainment can’t be beaten. Of course, the problem is our guests are undoubtedly offering an equally savage critique when leaving our house.”

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Ok Go – This Too Shall Pass

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Misery Bear

The world’s most depressed teddy bear.

Writer/ Directors – Chris Hayward and Nat Saunders

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The Lost Generation

Baby boomers took all the good jobs, the free education and the cheap housing and left their kids with nothing but the credit crunch and the bill for their pensions.

Our parents had free education, fat pensions, and second homes. We’ve got student debt and a property ladder with rotten rungs. Thanks very much, says Andrew Hankinson.

Last week a man in the jobcentre handed me a letter summoning me to a Back to Work session – come on! Back to work! Break’s over! A week later, I sit on a blue settee and wait to be called into a meeting room. A man with a goatee beard and ponytail sits on the blue settee opposite. He’s reading a book. To my left is another man on another blue settee, reading a newspaper. I flick through some notes. We share the daunted look of the new unemployed. I look at a poster on the wall – “You can find a job” – next to a picture of an ecstatic woman. Finally, the three of us are ushered into a room. The man who was reading the newspaper claims he attended a session last week and is immediately excused. Smart move. Two of us remain. A few minutes later a third claimant/loafer/tax thief enters. There were supposed to be 12 of us – damn buses and slow shoes. I sit with a bundle of government leaflets in my lap and one of the three staff members explains the Job Vacancy Pie. It’s impressive – a big chart showing where the jobs are. Hidden, apparently. No longer advertised. We should ask contacts instead, or come to the recruitment drives by the armed services and the new Morrisons down the road.

“We can also help with business plans,” a man in a beige suit adds, “though whether you’d be thinking of that in this climate, I don’t know.”

The claimant who arrived late opens a bottle of Coke and poses a theoretical question about what would happen if he had worked for McDonald’s and quit after three weeks because he didn’t like it. I decide to treat it all as research and start scribbling, detaching myself from the drudgery; unemployment is like being locked in a room with Tim Lovejoy and no gun. A university- educated man shouldn’t experience this. I amassed student debt in the belief that graduation would be followed by a huge bubble bath filled with sexy young jobs and beautiful, cigar-smoking status symbols. Not joblessness. I did my year working at a Newcastle-based call centre (where a degree was a requisite). I stuck it out, asking the team leader for permission to use the toilet. I did my time. I got a journalism qualification from Darlington College. I chased that job I wanted: working on Arena magazine (now defunct) in the dazzling capital. But then came redundancy. I took a job at another magazine. Redundant again – unemployment down south! Now I live with my girlfriend in a one-bedroom rental with collapsing ceilings (the landlord won’t fix a leak) and pillowcases for curtains.

The Back to Work session finishes. The goody bags are disappointing – forms to fill in and badly photocopied brochures. It’s time to get away from the jobcentre’s sour odour of bad hygiene, bureaucracy and mass failure. I head past the security guards and sidestep the terror dog tied to the railing. There’s goatee man. I say hello and ask his story. He’s 22 years old and called Alan. He lives with his parents in south London and got an A and two Bs at A-level. After that he went to Lancaster University to study English literature. This is his second stint on the dole. As we walk, I tell Alan I’ve been unemployed for 13 weeks.

It’s easy to sympathise with Alan. I’m 29, so I had some good years before my income (the dole) and assets (nothing) became a tiny fraction of my debt (£10,000 in student loans). But those arriving now are being shellacked. They already have a nickname – the lost generation, due to the 1 million 16- to 24-year-olds who are looking for work. It’s even hitting those traditionally saved by educational life rafts – one in every five graduate recruitment schemes has been scrapped and an estimated 40,000 of last year’s graduates were expected to be signing on six months after returning their mortarboards. The government’s answer is the Future Jobs Fund (a promise of 150,000 jobs for 18- to 24-year-olds who are unemployed for a year) and the Graduate Talent Pool (a website enabling firms to recruit 2008 and 2009’s graduates on minimum wage or unpaid internships).

“People are feeling incredibly angry,” Wes Streeting, president of the National Union of Students, told me. “They have debts in excess of £20,000 after being told they would get a job at the end of their degree and earn more money. Instead they’re just heavily indebted.”

The anger is due to intergenerational unfairness. Baby boomers had free education, affordable houses, fat pensions, early retirement and second homes (150,000 at the last census), but when we got to the buffet table – oh look, a couple of manhandled sandwiches. We’ve been left with education on the never-never and a property ladder with rotten rungs. Our work ethic is slurred and our salaries are stagnant. Any hope of promotion is paralysed by the comatose grey ceiling clogging every hierarchy. Overtime is unpaid and pensions are miserly. And the financial system which made our parents rich has left us choosing between crap job or no job. It’s like we’ve been handed the keys to the family castle only to discover the family sold it to Starbucks. And we’re going to have to work there.

The most vociferous complaint came from 23-year-old George Lewkowicz after the CBI proposed raising tuition fees. His furious letter to the Guardian last September roared that his generation has been “shafted”. He attacked unaffordable housing and unemployment, and suggested that those who received their university education for free – like the CBI’s Richard Lambert – forgo their “patio heaters” and pay a university windfall tax, applying interest since they graduated. He appeared on Jeremy Vine’s Radio 2 show twice and was written about in newspaper columns. The letter was posted on dozens of blogs and forums. “You’ve made this mess,” he concluded, “so you can pay to clear it up.”

In Newcastle we call that a proper radge. I meet him for a pint, and he’s still angry and stands by his letter. He says his friends are equally riled and he’s considering formalising his campaign: the credit-crunch generation’s Robin Hood. Asking around friends, it’s not hard to find him a gang of angry followers: Olivia, 23, philosophy graduate, currently studying a business skills course – “I’m furious at paying another £4,000 on top of university fees merely in the hope of getting a job”; Catherine, 27, psychologist – “I got a first-class degree and ended up serving frothy soya milk to posh mums”; Ali, 24, anthropology and sociology – “I got my degree but everywhere needed more: more experience, more qualifications. So now I teach English in Japan”; Will, 25, unemployed –”A degree from a good university counts for nothing, as universities are flooded with people who shouldn’t be there”; Hollie, 24, fashion graduate – “I lost my job and live in a crummy house share with my landlord’s Thai bride. Yes, I’m miffed.”

I widen my hunt and find internet forums and blogs venting intergenerational bitterness. And OK, the internet is just a massive two fingers from everyone to everyone, but it indicates which way the mad herd is stampeding: “baby boomers reveal themselves to be simply the most spoilt generation in the history of the entire planet”, “a parasitic generation”, “thanks for looking the other way”, “it’s a generational mugging”. Even playwright David Hare noted it in The Power of Yeswhen a 24-year-old banker reproaches the baby boomers with: “You’ve taken everything and left us with nothing.”

But before we work ourselves into a mob, maybe I should double-check. Take George Lewkowicz. It turns out he’s doing OK: private education, a job in the City, parents paid for his university costs. And there’s me: got a 2:2, refusing to change industry despite publishing hitting the iceberg years ago. And take Alan. I thought he was the perfect specimen – student debt, lives at home, unemployed – but he wouldn’t stop talking and he spoiled it. He told me he quit university after a year and went to Australia because he “wasn’t inspired by” his studies. He got a job at a solicitor’s office but couldn’t get his “head around Microsoft Office” (despite a grammar school education). He doesn’t have “the right sort of mind” to fix electronics like his dad. And he was a roadie, but got fired. It seems as if Alan has had a few chances, and perhaps he’s just not that keen on work (the boring kind that our parents did). And it’s this fundamental reassessment of what is required to make money (ie, that boring work) that we have to face up to. I ask Alan what he wants to be.

“A poet,” he replies.

Our generation: inculcated with dreams, hampered by the economy, scuppered by our own ineffectiveness. And then there’s our spending. We do spend. I’m told that in the past, people would save for years to buy a house, then live with no carpets and save again. Now we splurge on the Ikea elves who fly around on a giant credit card, furnishing our homes in time for house-warming parties. Student loans = textbooks? Incorrect. A duck-feather jacket was my folly. Mobile phones and iPods, DVDs and Uggs, ISPs and olive bars. And then there’s the holiday epidemic. Above my desk is a photograph of a baseballer (£12 for a large print and £55 to frame), which I took in Central Park (£1,500 for flights, hotels and spending money). I expect a large chunk of mortgage deposits is circulating the bars of New York and the hash dens of Morocco. But we learned to spend in childhood and it’s become instinctual, like disliking Ashley Cole. And the instinct has been amplified through the generations – Grandma shopped around for the cheapest meat, Mum went to Marks & Spencer, I ask the waiter for medium-rare. Unfortunately, we’re struggling to fund the habit.

Which is why the woman at the jobcentre sent me on a compulsory seminar for “unemployed professionals” (code for: been to university, probably owns a suit). The sessions are occurring all over the country as part of the government’s effort to get people like me working again. This one is near London’s Liverpool Street and is being run by a recruitment firm called GR Law. I’m expecting the usual stuff about formatting CVs and not swearing too much during the interview, but John, the presenter… Well, I’m shocked. The jobs market has changed vastly since the recession hit. I pull a face when John mentions Twitter, but he says 346,683 jobs were uploaded on Twitter in the past 30 days worldwide. That’s compared with no jobs on Twitter nine months ago. And the Job Vacancy Pie was right – around 70% of jobs are not advertised. Facebook is a necessity. LinkedIn is a necessity. And we shouldn’t wait until the application deadline, because recruiters stop opening emails after the initial 20 CVs.

“You’ve never looked for a job in a market like this,” says John. “Even if there’s nothing wrong with your CV, you’re up against 50 others who have nothing wrong with theirs either.” I sit slack-jawed, like John’s just played the Zapruder tape and pointed out a guy on the sidewalk with a smoking gun and a big clown hat. The seven others in the seminar are a lawyer, a digital media graduate, a young offenders worker, a fashion graduate, a property researcher, a former British Gas call centre manager and a criminology graduate. They’re smart and confident. Rajiv Nawbatt is one of them. He’s a recruiter’s dream: studied law at Sheffield University (2:1), worked in the City for a year, did a postgraduate legal practice course, worked as a paralegal for a year and completed his two-year training contract with a “silver circle” law firm. But they didn’t hire him permanently, and now he’s 27 and has been claiming the dole for two months. I pour myself a cup of tea (life support, mini-break and Christmas bonus for the unemployed). The criminology graduate is Christine Babicz, 22, from Essex. After graduating, she worked at the National Centre for Social Research, but temporary staff were let go and now she’s doing a research internship at the Magistrates’ Association. She’s been on the dole for a month and hates it. The jobcentre says she has to give up the internship. Her student debt is £21,000 and she’s getting desperate. Unfortunately there aren’t enough jobs to go round.

Economist David Blanchflower, a labour expert and former member of the Monetary Policy Committee (and sage of the recession), is equally worried about our prospects. He explains what needs to be done: raise the education leaving age to 18, more teachers, no National Insurance for under-25s, and guaranteed work for the long-term unemployed. Most worrying for graduates is his final bit of advice. “Young people have not seen anything like this before,” he says. “Their expectations were different, but they will have to adapt to this new world. If they have to lower their expectations, that’s what they have to do. If that means less money, that’s what you do. If that means delivering pizza, that’s what you do.”

Delivering pizza? I ask Rajiv if he’d deliver pizza, considering the time and money he and his family have spent. He says he might, but not at the moment. Christine says she would if she could drive. But even if she learns to ride a scooter, is that work even available? I phone my local pizza takeaway and ask – “No, no jobs, sorry Sir.” I’m not disappointed, because there are acceptable down-jobs (labouring on a building site, helping an old man strip narrow boats, acting) and there’s delivering pizza. I would have to work nights. My boss would be… not a graduate. I’d have to chat with other deliverers – is that the job title? – who stack deodorants and empty beer cans on their bookshelves rather than books. Who probably don’t even have bookshelves. Who probably think a digestif is a biscuit. And then there’s my friends: they’d show interest initially, but after four weeks, three months… What if they ordered pizza? And what if I were unable to claw my way back out of the social quicksand?

No. I’m part of the digital generation. I’m an email and adjustable-seat kind of worker. Maybe I can invent an iPhone app to deliver pizzas. Perhaps an entire series of iPhone apps. One of them could scoop cigarette ends out of urinals, another could be polite to customers. What’s wrong with me? Why am I not like Dad? Dad would deliver pizzas. I remember when his building business folded in the 1990s. He didn’t sign on. He knew he was going to end up in a flat above a shop, but he stacked Thomson directories in the front garden and asked for help delivering them. I said no, because friends might see us schlepping up those long driveways. Life was easier when he had a Mercedes and Mum had a Porsche. Instead, he was riding a bicycle to the paper shop; not to buy a paper, to work there – the shop where I had a round! He was furious when I said no, but he delivered the directories himself, worked in the paper shop, bought a van, started another building business, paid for my university accommodation, had a stroke, got walking again, went back to work, bought a nice house and built a large pond in his massive garden. And I will never forgive myself for not helping with those directories. Nice work, son.

“You’re a Geordie. They’ve got a strong work ethic in that part of the country.”

That’s Lord Tebbit, and he’s talking about people like my dad, rather than me, but I steal the compliment. For those who weren’t born in the olden days, Tebbit was employment secretary from 1981-83, then trade and industry secretary, before becoming Conservative party chairman until 1987. He was also Thatcherism’s boogie man (not the dancing kind).

“I don’t think you could make the case that there’s been some generational change in the youngsters themselves,” he says. “Given good leadership, good advice and good education they could be every bit as good as their fathers and grandfathers. But an awful lot have been misled into acquiring a pile of debt and finishing with a qualification which is not of very much value, at universities which don’t have a great deal of credibility with employers.”

I ask who misled them.

“The schools. False expectations were raised. I also think there’s an element of young Brits wanting the job they want and not being willing to take a job. They haven’t got from their schools the idea that the best way to get to the top of the ladder is to get on one of the lower rungs and start climbing, as opposed to expecting someone to lift you up and pop you halfway up the ladder.

“A bit of personal experience here. We have carers for my wife and we advertise on an internet site called Gumtree. It’s quite an instructive thing to do, to find out who replies to an advert for that sort of job. It’s not badly paid – £350 a week, and they get good live-in accommodation. Far more people from central Europe are applying for these sorts of jobs than Brits, and I wonder where the equivalent Brits are – the 20- to 25-year-olds who say they can’t get work.”

I phoned Tebbit because in 1981 he famously suggested rioters should get on their bikes and find a job. We don’t have proper riots any more, but I thought he might have some advice for today’s equivalent – the angry internet commentators and grumbling graduates.

“It was much easier to set up in self-employment in the 80s,” he says. “The regulatory environment was much easier. I find it surprising how many people come up to me and say: ‘I took your advice to get on my bike’ – advice which I never actually gave, but that’s the way it came out – ‘and I made a great success of it.’ I think perhaps that’s lacking from the ambience now. There’s a lack of belief in one’s ability to change one’s own circumstances.”

I have a coffee with Martin Bright, ex-home affairs editor of the Observerand currently political editor of the Jewish Chronicle. He’s been campaigning for the revival of the Enterprise Allowance Scheme (the 1980s’ most lamented policy) since the recession started, having benefited from it during two years of continual unemployment, despite a 2:1 from Cambridge.

“I found being unemployed and not meaningfully employed really demoralising,” he says. “It knocks your confidence. What stopped me from being totally demoralised was the Enterprise Allowance Scheme, which I went on twice. The first time was as a printer. We did an advert for a taxi firm and that was it. Failing was fantastic experience, though. Then I was a self-employed journalist. The scheme gave me the freedom not to have to sign on every week, and to call myself a journalist.”

Or a dance instructor, builder, pizza chef or a poet. The rules were: if you were unemployed for 13 weeks (later eight) and had £1,000 capital, you could stop signing on, start a business and for a year you’d receive a slightly higher allowance than the dole. Hundreds of thousands of businesses were created, including Creation Records (which signed Oasis) and the Superdry fashion label, and everyone could be their own boss – “That’s the third shoulder pad I’ve sold today; might knock off early and catch Crocodile Dundee at the Odeon.”

Bright wants to make sure (through his creative industry coalition, New Deal of the Mind) that the Future Jobs Fund isn’t simply about cheap labour. He cites Franklin D Roosevelt’s New Deal, which was formed during America’s Great Depression, when writers wrote public pamphlets and builders built public buildings, rather than everyone immediately queuing for a shovel and pretending they never listen to Radio 4. He suggests today’s unemployed graduates could be hired to collate Britain’s oral history or work on similar projects. I ask about delivering pizzas.

“I think that’s a defeatist attitude,” he says. “It’s precisely the wrong message. People should raise their expectations. My fear is, if there are fewer jobs across the board and people want graduates to do the shittier jobs, those who would have done those jobs are going to do even worse ones. And those below them will spend even longer on the dole. That’s a recipe for social breakdown.”

After coffee I sign on. My appointments have become weekly; the assessors are stroking the “any job” trigger. There are more claimants bearing iPhones than there were three months ago. Back then, everybody looked like the boy sitting next to me, a flat look on his face and dirty clothes – in 40 years’ time I’ll realise I would have gone double, treble, quadruple on my student loan not to be him. I ask a member of staff about a self-employment credit Bright told me about. Apparently you need six months of unemployment and it’s only £50 per week (£14 less than the dole) over 16 weeks – “Even then it’s far from straightforward,” says the woman. Not great. Unfortunately the Department for Work and Pensions says there are no plans to expand it.

In fact there are no plans to do anything ambitious, despite the hardship ahead (Mervyn King, governor of the Bank of England, prophesied it will be 2011 before the economy is full-blooded again). I ask Dad how he coped with recession. He left school at 14, started as an office boy (”fetching the senior partner’s tobacco”), learned his trade and created a company from nothing. Then suddenly his business was liquidated in 1993 and he was working in a paper shop and delivering Thomson directories.

“Absolutely. Anything to get cash,” he says. “Any number of smaller jobs – put them together and make a decent living. Then I started again, just me on the tools with a van.”

I ask him why younger people think it’s harder these days. “Aspirations are greater. You lads go to university these days and come out full of hope, but you end up full of debt and the job market crashes. It’s hard. You’ve tasted redundancy twice and you’re only 29. It doesn’t bode well for the way this country’s performing. You’ve got to keep that entrepreneurial spirit going.”

But I’m struggling. My industry is collapsing and jobs are scarce – I’ve applied for dozens, with no interviews. Instead I’ve been focusing on hundreds of pitches for freelance work, grafting day and night. So far I’ve had £2,000 of commissions. That’s in four months. And an email has already arrived cancelling £500 of that, with no compensation, but a note asking if I have any celebrity contacts they could use. Also, a £600 portion has been cut to £200, once again with no compensation. And a big chunk of what is left has been pushed back two months. Suddenly no money for rent. And I start crying before breakfast. Never done that before. Can’t sleep either. I rip a chunk of hair out of my head because I’m so angry and helpless. And each morning before my girlfriend goes to work she sincerely asks me not to kill myself. I won’t, but I consider going to one of the commissioning editors’ offices to punch (throttle, gouge, thump so hard, stamp on, scream at) him. I don’t though. I’m too worried he might tell acquaintances and cost me further work. I’ve abandoned my dignity.

Someone takes me for a drink and asks how long I’ll give it before trying something else. I don’t know how to answer. I’ve put in years on the bottom rung. I never got off the bottom rung. I started out doing captions at a property magazine, and did horrible shifts for a pittance before I got myself on the bottom rung at big magazines and earned praise. I sat with a literary agent who was taking my book to publishers. Now he doesn’t even answer my phone calls, and nor does anyone else. I’m tortured by the drip-drip of unanswered emails. The industry doesn’t want me. I should do something else, but even David Blanchflower, a labour specialist, says nobody knows what people should train in yet – the future is unknown. And how do you afford retraining anyway? But more than that, I fought hard to get here. Really hard. I’m not from this kind of background. Why should I abandon it all to those with posh parents, posh educations and posh voices? I earned it. So when people ask how long I’ll give it, I tell them I’ll stop when I’m dead.

And OK, I realise refusing to switch industry is my fault, not the older generation’s. But me being unemployed is their fault. It’s the fault of rotten managers who coasted in a cushy economy, relying on the nation’s growth and rising house prices to make them rich rather than learning how to make better products. They made us casualties of balance-sheet adjustment while keeping fat pensions to themselves. They sold every small company to a bigger one for a few bits of silver, leaving it to be milked dry by shareholders. Where’s the moral integrity? And regarding university, it was the older generation who opened up the financial markets, which meant we had to compete against globalised labour. Now it’s even more of a necessity – what else do you do if even call centres require university education? All of which makes it hard not to be bitter.

No doubt the older generation will have a good time with their free bus passes and villas in Spain. They’ll enjoy the pensions and property. Shame about the smashed unions that might have got us decent wages and pensions. Shame about houses only being affordable to trust-funders. Shame about the abandonment of industry and its replacement with… coffee? Shoes? Credit? We’re just cheap labour, here to fund a bit more wealth. We know that now. And don’t worry, we’ll pay off the debt.

Have a nice life.?

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Burlesque

If you love burlesque check out the burlesque guide. It has lots of great burlesque videos.

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Posted in sexy.


Slap Chop Rap

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Kitlers – Hitler Cats


kitler289

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Posted in funny.


Simon’s Cat

Simon Tofield was aware that his bachelor days were about to end when his girlfriend and her six-year-old daughter moved in with him recently. But there have been two dominant females lording it over his household for some time — a nine-year-old tortoiseshell called Jess and a “ginormous” tabby, Maisy.

“Jess is a real one-man cat and an expert at getting her own way,” the 38-year-old illustrator says. “My girlfriend gets quite annoyed because Jess insists on sleeping on my bed and she’s very clingy to me.

“Maisy, who was a rescue cat, is more independent and very much an outdoor cat. But she, too, knows exactly what she wants. My third cat, Hugo, a black tom, is constantly put in his place by them.” Chuckling at the thought, he adds: “And so am I.”

And now there’s demanding moggie No 4, who is fast attracting a fan club of millions worldwide as the star of an animation on [ YouTube. Tofield, an illustrator and animator for commercials, dreamt up the character one morning “for a bit of fun” when he was trying out a new software package on his computer. The result was a one-and-a-half minute sequence inspired by the attempts of his youngest cat, Hugo, to wake him up that morning.

“I put it on my showreel I send to potential clients to get work,” he says. “I didn’t intend for anyone else to see it, so when a friend phoned me to say my cat was on YouTube I couldn’t believe it. I thought someone had stolen my work.

“I still don’t know who put the film up there, but it has been the best thing that has ever happened to me. So far, that first film has had more than ten million hits. I got to work on a second film straight away so that I could let people know it was my work. The best kick of all was knowing that so many others shared my sense of humour.”

Three more films followed, each one taking longer than the previous because Tofield does all the artwork himself; each second of animation can require up to 25 drawings. By the end of last year he had scooped several prizes, including Best Comedy at the British Animation Awards. Now his cat is the star of a book of comic sketches, out next month. The next step is a range of cat merchandise, including an Apple app, cards and T-shirts. There will also be a new film on YouTube in time for Christmas.

Tofield has been drawing cartoon cats since he was a child in Bedfordshire — he got his first kitten when he was 9 — and it’s his knack for caricaturing feline behaviour, coupled with a schoolboy humour, that appeals to children and adults alike. In the first film the cat tries everything he can to wake his owner — he climbs on his head, purrs, miaows, paws him. “Which is exactly what my cat Hugo was doing to me the morning I drew that sequence,” Tofield says.

Then the cat whacks him over the head with a baseball bat. That bit didn’t happen in real life, obviously. “But you can imagine a cat doing something like that if it could and that’s what made me laugh,” Simon chuckles. “When I wake up, all dazed and confused, the cat is curled up innocently at my feet. I love that constant one-upmanship. My cats get the better of me all the time.

“I see Simon [in the films] and his cat like Laurel and Hardy, with Simon, who is a caricature of me, the fall guy. The butt of the jokes. Cats the world over are so good at manipulating humans. A lot of the scenarios are familiar to all cat owners, so I can sit here in London and make a film inspired by one of my cats and someone in New Zealand might be laughing because it reminds them of their pet, Snowball.”

Unlike Garfield, the most famous comic cat to date, Tofield’s cat doesn’t have a name and doesn’t speak, other than to make the realistic purrs and “brrupps” provided by Tofield for the films. “I didn’t want to give him a human voice,” he says. “Cats have a language of their own and it’s the little nuances, the chirps as I call them, that really make this cat come alive. I also decided that the book shouldn’t have any captions. I like the images to speak for themselves. The humour is all in the eyes and the body language. Simon’s cat behaves just like a real cat, but with a touch of the schoolboy about him.

“Even people who hate cats have e-mailed to say they find themselves laughing,” Tofield says. “I get some really heartfelt e-mails, too,” he adds. “One was from someone suffering from depression who said that Simon’s cat made them laugh for the first time in a year.”

Tofield is clearly not as hapless as his comic alter ego on screen, but he is astonished by the success of his feline anti-hero. The day we meet he has just returned from a media training session to prepare him for his new notoriety, and he’s a little uncomfortable talking about himself to me for his first newspaper interview.

“The cat is the star really, not me,” he says. “All I know is I love sitting down, putting pen to paper and taking him on lots of adventures. I enjoy every minute because I never know where the next picture is going to take us.”

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Posted in sexy.


Cormac McCarthy on The Road

Cormac McCarthy shuns interviews but he relishes conversation. Last week the author sat down on the leafy patio of the Medgar Hotel, built about 20 years after the siege of the Alamo, the remains of which are next door. McCarthy had flown to San Antonio to meet his friend Tommy Lee Jones, a star of No Country for Old Men, a film adapted from McCarthy’s 2005 novel.

In a soft voice, chuckling frequently and gazing intently with his grey-green eyes, McCarthy talked about his latest book, The Road, sharing his views on ageing, writing and technology. As the afternoon chat went on, it got dark and the discussion moved to a nearby restaurant for dinner. Dressed in crisp jeans and dimpled brown cowboy boots, McCarthy began with a Bombay Sapphire Gibson — onions, up.

The 76-year-old author first broke through with his 1985 novel Blood Meridian, a tale of American mercenaries hunting Indians in the Mexican borderland. Commercial success came in 1992 with All the Pretty Horses, a winner of the US National Book Award and the first instalment of the Border Trilogy. Critics relished his detailed vision of the West, his painterly descriptions of violence and his muscular prose stripped of most punctuation.

The writer himself, however, has proved more elusive. He won’t be found at book festivals, readings and other places where novelists gather. McCarthy prefers hanging out with “smart people” outside his field, such as professional poker players and the thinkers at the Santa Fe Institute, a theoretical science foundation in New Mexico where he has been a longtime Fellow.

In recent years his circle has inched farther into Hollywood. Now, set for release in January, is a screen adaptation of The Road. As intimate as it is grim, the book tells the story of a man’s bond with his young son as the two struggle for survival years after a cataclysm has erased society. The novel won a Pulitzer Prize in 2007 and was promoted heavily by Oprah Winfrey as a surprising selection for her book club.

The film, starring Viggo Mortensen as the father and Kodi Smit-McPhee (11 years old at the time of filming) as his son, closely follows the book’s bleak narrative, including encounters with cannibals. The director, John Hillcoat, is an Australian who made the 2005 Western-style revenge tale The Proposition, set in the Outback. To replicate the blighted landscapes in The Road, Hillcoat shot much of the movie in wintertime Pittsburgh, Pennsylvania, where remnants of the region’s coal and steel history lent to the desolation.

The backstory of McCarthy’s novel is personal, springing from his relationship with his son, John, 11, who he had with his third wife, Jennifer. As death bears down in The Road, the main character obsessively protects his son and prepares him to carry on alone: “He knew only that the child was his warrant. He said: If he is not the word of God, God never spoke.”

John Jurgensen: What kind of reactions have you had to The Road from fathers?

Cormac McCarthy: I have the same letter from about six different people. One from Australia, one from Germany, one from England — but they all said the same thing. They said: “I started reading your book after dinner and I finished it 3.45 the next morning and I got up and went upstairs and I got my kids up and I just sat there in the bed and held them.”

Why don’t you sign copies of The Road?

There are signed copies of the book, but they all belong to my son John, so when he turns 18 he can sell them and go to Las Vegas or whatever. No, those are the only signed copies of the book.

How many did you have?

Two hundred and fifty. So occasionally I get letters from book dealers or whoever that say, “I have a signed copy of the The Road”, and I say, “No. You don’t.”

You were born in Rhode Island and grew up in the South. Why did you end up in the Southwest?

I ended up in the Southwest because I knew that nobody had ever written about it. Besides Coca-Cola, the other thing that is universally known is cowboys and Indians. You can go to a mountain village in Mongolia and they’ll know about cowboys. But nobody had taken it seriously, not in 200 years. I thought, here’s a good subject. And it was.

You grew up Irish Catholic I did, a bit.

It wasn’t a big issue. We went to church on Sunday. I don’t remember religion ever even being discussed.

Is the God that you grew up with in church every Sunday the same God that the man in The Road questions and curses?

It may be. I have a great sympathy for the spiritual view of life, and I think that it’s meaningful. But am I a spiritual person? I would like to be. Not that I am thinking about some afterlife that I want to go to, but just in terms of being a better person. I have friends at the [Santa Fe] Institute. They’re just really bright guys who do really difficult work solving difficult problems, who say, “It’s really more important to be good than it is to be smart”. And I agree it is more important to be good than it is to be smart. That is all I can offer you.

When you discussed making The Road into a movie with [the director] John Hillcoat, did he press you on what had caused the disaster in the story?

A lot of people ask me. I don’t have an opinion. At the Santa Fe Institute I’m with scientists of all disciplines, and some of them in geology said it looked like a meteorite to them. But it could be anything — volcanic activity, or it could be nuclear war. It is not really important. The whole thing now is, what do you do?

The last time the caldera in Yellowstone blew, the entire North American continent was under about a foot of ash. People who’ve gone diving in Yellowstone Lake say that there is a bulge in the floor there that is now about 100ft high and the whole thing is just sort of pulsing. From different people you get different answers, but it could go in another three to four thousand years, or it could go on Thursday. No one knows.

What kind of things make you worry?

If you think about some of the things that are being talked about by thoughtful, intelligent scientists, you realise that in 100 years the human race won’t even be recognisable. We may indeed be part machine and we may have computers implanted. It’s more than theoretically possible to implant a chip in the brain that would contain all the information in all the libraries in the world. As people who have talked about this say, it’s just a matter of figuring out the wiring. Now there’s a problem you can take to bed with you at night.

When you first went to the film set, how did it compare with how you saw The Road in your head?

I guess my notion of what was going on in The Road did not include 60 to 80 people and a bunch of cameras. [The director] Dick Pearce and I made a film in North Carolina about 30 years ago [The Gardener’s Tale] and I thought, “This is just hell. Who would do this?” Instead, I get up and have a cup of coffee and wander around and read a little bit, sit down and type a few words and look out the window.

But is there something compelling about the collaborative process compared with the solitary job of writing?

Yes, it would compel you to avoid it at all costs.

All the Pretty Horses was also turned into a film [starring Matt Damon and Penélope Cruz]. Were you happy with the way it came out?

It could’ve been better. As it stands today it could be cut and made into a pretty good movie. The director had the notion that he could put the entire book up on the screen. Well, you can’t do that. You have to pick out the story that you want to tell and put that on the screen. And so he made this four-hour film and then he found that if he was actually going to get it released he would have to cut it down to two hours.

Does this issue of length apply to books, too? Is a 1,000-page book somehow too much?

For modern readers, yeah. People apparently read only mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written 100 years ago are just not going to be written any more and people need to get used to that. If you think you’re going to write something like The Brothers Karamazov or Moby-Dick, go ahead. Nobody will read it. I don’t care how good it is, or how smart the readers are. Their intentions, their brains are different.

How does the notion of ageing and death affect the work you do? Has it become more urgent?

Your future gets shorter and you recognise that. In recent years I’ve had no desire to do anything but work and be with [son] John. I hear people talking about going on a vacation or something and I think, what is that about? I have no desire to take a trip. My perfect day is sitting in a room with some blank paper. That’s heaven. That’s gold and anything else is just a waste of time.

Does getting older make you want to write more shorter pieces, or to cap things with a large, all-encompassing work?

I’m not interested in writing short stories. If it doesn’t take years of your life and drive you to suicide, it hardly seems worth doing.

Can you tell me about the book you’re working on, in terms of story or setting?

I’m not very good at talking about this stuff. It’s mostly set in New Orleans around 1980. It has to do with a brother and sister. When the book opens she’s already committed suicide, and it’s about how he deals with it. She’s an interesting girl.

Some of your critics focus on how rarely you go deep with female characters.

This long book is largely about a young woman. There are interesting scenes that cut in throughout the book, all dealing with the past. She’s committed suicide about seven years before. I was planning on writing about a woman for 50 years. I will never be competent enough to do so, but at some point you have to try.

The past five years have seemed very productive for you. Have there been fallow periods in your writing?

I don’t think there’s any rich period or fallow period. That’s just a perception you get from what’s published. Your busiest day might be watching some ants carrying breadcrumbs. Someone asked Flannery O’Connor why she wrote. And she said: “Because I was good at it.” And I think that’s the right answer. If you’re good at something it’s very hard not to do it. In talking to older people who’ve had good lives, inevitably half of them will say, “The most significant thing in my life is that I’ve been extraordinarily lucky.” And when you hear that you know you’re hearing the truth. It doesn’t diminish their talent or industry. You can have all that and fail.

This is an edited version of an interview first published in The Wall Street Journal

AN EXTRACT FROM ‘THE ROAD’

On the far side of the river valley the road passed through a stark black burn. Charred and limbless trunks of trees stretching away on every side. Ash moving over the road and the sagging hands of blind wire strung from the blackened lightpoles whining thinly in the wind. A burned house in a clearing and beyond that a reach of meadowlands stark and gray and a raw red mudbank where a roadworks lay abandoned. Farther along were billboards advertising motels. Everything as it once had been save faded and weathered. At the top of the hill they stood in the cold and the wind, getting their breath. He looked at the boy. I’m all right, the boy said. The man put his hand on his shoulder and nodded toward the open country below them. He got the binoculars out of the cart and stood in the road and glassed the plain down there where the shape of a city stood in the grayness like a charcoal drawing sketched across the waste. Nothing to see. No smoke. Can I see? the boy said. Yes. Of course you can. The boy leaned on the cart and adjusted the wheel. What do you see? the man said. Nothing. He lowered the glasses. It’s raining. Yes, the man said. I know.

They left the cart in a gully covered with the tarp and made their way up the slope through the dark poles of the standing trees to where he’d seen a running ledge of rock and they sat under the rock overhang and watched the gray sheets of rain blow across the valley. It was very cold. They sat huddled together wrapped each in a blanket over their coats and after a while the rain stopped and there was just the dripping in the woods.

When it had cleared they went down to the cart and pulled away the tarp and got their blankets and the things they would need for the night. They went back up the hill and made their camp in the dry dirt under the rocks and the man sat with his arms around the boy trying to warm him. Wrapped in the blankets, watching the nameless dark come to enshroud them. The gray shape of the city vanished in the night’s onset like an apparition and he lit the little lamp and set it back out of the wind. Then they walked out to the road and he took the boy’s hand and they went to the top of the hill where the road crested and where they could see out over the darkening country to the south, standing there in the wind, wrapped in their blankets, watching for any sign of a fire or a lamp. There was nothing. The lamp in the rocks on the side of the hill was little more than a mote of light and after a while they walked back. Everything too wet to make a fire. They ate their poor meal cold and lay down in their bedding with the lamp between them. He’d brought the boy’s book but the boy was too tired for reading. Can we leave the lamp on till I’m asleep? he said. Yes. Of course we can.

He was a long time going to sleep. After a while he turned and looked at the man. His face in the small light streaked with black from the rain like some old world thespian. Can I ask you something? he said.

Yes. Of course.

Are we going to die?

Sometime. Not now.

And we’re still going south.

Yes.

So we’ll be warm.

Yes.

Okay.

Okay what?

Nothing. Just okay.

Go to sleep.

Okay.

I’m going to blow out the lamp. Is that okay?

Yes. That’s okay.

And then later in the darkness: Can I ask you something?

Yes. Of course you can.

What would you do if I died?

If you died I would want to die too.

So you could be with me?

Yes. So I could be with you.

Okay.

by Cormac McCarthy. © M-71, Ltd. 2006

Interview by John Jurgensen , The Times Nov 2009

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Posted in heroes.

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James Ellroy

The celebrated crime writer reveals that after his last book led to a breakdown, drugs and divorce, this time he has his demons in check

Some illuminating pre-interview James Ellroy research shows: “America’s greatest living crime writer” (some would root for Elmore Leonard) feigning joyful masturbation for the benefit of the Playboy Channel outside the house where a girl he used to spy on as a teenager once lived; Ellroy growling at the presenter of a radio show, “No, I’m not mellow. I floss with barbed wire and gargle with the Aids virus”; Ellroy showing off about the size of his “donkey dick”; Ellroy telling the whole world that, artistically speaking, he is rivalled only by Beethoven.

To me it all sounds like chest-beating self-aggrandisement in the style of a wrestling champ. And certainly his fans, and there are hundreds of thousands of them, lap up the alpha male, genius writer, tough-guy rhetoric.

But there is a minority who take offence at his perceived grandiosity (the word “jerk” comes up often on internet threads), and even his admirers, literary critics among them, have been known to find fault with his heavily abbreviated writing style, and his use of homophobic and racist language, a claim he seldom feels the need to justify.

Alongside the Playboy video is a series that Ellroy has written entitled Why I Chase Women, in which he describes himself as a “tenuously reformed pervert” and details his messy adolescence, chaotic relationship with drugs and alcohol, and his overwhelmingly obsessive relationships with women, including the odd prostitute.

Helen Knode, his second wife and best friend, nicknamed him “a zoo animal”, while they were still together. When the marriage broke down, she told him: “You drove around Carmel in shit-stained trousers. My parents heard you jacking off upstairs. You peeped women while you walked Dudley [the dog].”

I assumed he was going to be a handful.

But in the plush Langham Hilton, Ellroy appeared tall, slightly hunch-shouldered, dapper, bald, energetic and bespectacled. I later watched him being interviewed by the cultural commentator Mark Lawson and expect that he would have behaved very differently had I been a man. Lawson, all British tea-parlour politeness, soldiered on in small-talk mode, unable to cope with Ellroy’s habit of, I think unconsciously, baring his teeth in an appearance of light menace and batting away questions with one word answers, usually “No”.

But in the Langham, the Demon Dog of American literature behaved as genially as a puppy: chivalrous, engaging, kind, warm, every word carefully chosen. How infuriating. Where was the obnoxious, at times juvenile, man who, not seven months ago, had feigned masturbation for a soft porn site?

“The interview for Playboy had no dignity,” he said, with the air of a person who has awoken remorsefully with a hangover. “I was encouraged to exercise the worst aspects of my rude behaviour. I’m an accomplished public performer and I can act. And I go on book tours and I’m like a dog cut off its leash.

“I spend a great deal of time on my own and I’m very serious in my pursuits, and put a camera in front of me or put me in front of an audience and I’m there to convert, to seduce, to take over, to dominate and I can be harsh and I can be domineering and I can be brusque. And I’m learning to be less so.”

Why bother, if the persona works?

“It’s just a better way to be. It puts fewer people off and I’m trying to grow up. Yeah. At no loss of youth or vigour, I’m just trying to grow up.”

Ellroy is now 61. But he never tires of talking about the pivotal moment of his life, the rape and murder of his mother in Los Angeles, when he was 10. The rest you should do yourself the favour of reading about in My Dark Places, a terrifically crafted memoir that I suspect women enjoy more than something like American Tabloid or L. A. Confidential, complex and macho novels that require a working knowledge of mid-20th-century American history, slang, conspiracy theories and politics.

His early erotic attachment to his mother, his desire to know her and understand the motivations for her murder, and an abstract wish to live in the period in which she was killed are explored most explicitly in Why I Chase Women, which will appear in book form next year under the title The Hilliker Curse (Hilliker is his mother’s maiden name). But the same themes, it transpires, also drive his new novel Blood’s a Rover, if in more roundabout, semi-disastrous ways. “It ripped my f***ing heart out,” he says. “I didn’t think I could go on much longer at certain points while I was writing that book.”

One of the joys of interviewing Ellroy is that there is none of that paranoid guardedness you get with so many male authors. We move swiftly on to a second turning point in his life, a breakdown he had in 2001. It began innocuously enough with a spell of insomnia and morphed into an addiction to sleeping pills and hypochondria. He spent an unsuccessful spell in a health retreat being slathered with healing oils and doing transcendental meditation. And when antidepressants didn’t work, he went into meltdown.

The whole thing was brought on, he says, by “knowledge of ultimate incapacity and death, suppressed emotion, unexpressed sexuality, romantic longing, a life lived very, very, very hard”. He was also working like a man possessed, promoting the prequel to Blood’s a Rover, The Cold Six Thousand, which “began all the events that lead to all the horror. I was exhausted. Even a phone call was taxing. I had money. I didn’t particularly need to work, I had film jobs, I was trying to sleep around the clock. I needed to rest. I needed to shut 55 years of very, very hard-lived life off.” Most of all, “I needed to fantasise, I needed to have crushes on women. I mean, I never acted on them, I was entirely honourable.”

He produces for me his list of infatuations: Anne Manson, the former principal conductor of the Kansas Philharmonic; a lesbian FedEx courier; and the Swedish mezzo soprano Anne Sofie von Otter. “The strangest group of women ever. I just needed to go off by myself and drink coffee and think.”

Coffee notwithstanding, his breakdown put an enormous strain on his marriage to Knode, culminating in her suggestion of a more open arrangement. Given his compulsive romanticism, she might have foreseen what happened next. As he says, “You shouldn’t offer a guy like me a deal like that because I’ll do it”. Anyway, he had soon met and become fanatically engrossed with a woman who he decided to turn into a character in Blood’s a Rover.

“I was 56,” he said. “I didn’t have anybody. I didn’t have any … body. And it was the strangest, most pathetic place to be. Helen hated me at the time. And I met this woman and I should have smelt misalliance, potential obsession … and then at a certain point I had to reveal to Helen I’m seeing someone, it’s OK, she initiated the deal, it wasn’t a cheat or infidelity and I’m an all-or-nothing kind of guy and I left. I wanted to be with her and we wanted to have a child.”

It was a disaster, of course. Ellroy was needy to the point of delirium and would have panic attacks whenever left on his own: “Yeah, and I’m a big f***ing shit-kicking A-type American guy.” Probably wisely, his new partner terminated the relationship and Ellroy swiftly found himself relocating to New York. One hardly needs to ask why. “At a reading performance I had spoken to a woman for two minutes. And, why not? Why not move 500 miles because there’s some woman you met for two minutes in a chaste conversation?”

Well, I could think of plenty of reasons. None of these remotely fazed her new paramour: “It’s just this motif, I always tend to get what I want, and all I’ve ever wanted was to write great books, live a big life, know God and commune with women of great substance. And I’m disarming. It’s not an unreasonable goal if you look at it from a certain standpoint. I don’t want to be President of the United States. I don’t want to be a rock’n’roll star. I don’t want to chase showgirls or do anything stupid like that.” In the end the relationship didn’t work out but the pair are still friends and she also went on to become a central character in the book.

From an author’s view it’s all very well to draw from real life. But is he so sure that these women were keen on being immortalised in this way? “I intended nothing but love for these two women. It didn’t pan out that way,” Ellroy says. “I could have slunk away, been cowardly, or I could honour them by doing what I do best, which is write fiction.”

What Ellroy does magnificently is draw key moments from history to interpret the events of the time, in the case of the Underworld USA trilogy, the years spanning 1958-1972. His fiction, he says, is approximately one third fact, which he uses to stand up every mid-20th century American conspiracy you’ve ever heard: JFK was killed by the Mob; Martin Luther King’s assassination was linked to the head of the FBI. How conspiracy-minded is Ellroy?

Not at all, he says, though the idea for the Underworld trilogy sprang from Don DeLillo’s reading of the JFK assassination in his book Libra. On King’s death, Ellroy says: “FBI men have wondered how James Earl Ray managed to stay out of prison with impunity for over a year and assassinate Martin Luther King and was as stupid as a brick, and always seemed to have money. So I do sense a collusion.

“And I do sense repressive factions coming together to quash revolution and also I make the case in King’s case, even though I revere the man above all other 20th-century Americans, that he was losing a little bit in the last years of his life. I think because he had been so courageous for so long that he just wanted relief from all this suffering.

“So he’s down at the garbage workers’ rally in Memphis and gets shot. He was becoming more demanding, more grandiose and turning a lot of his supporters against him. So what I felt upon research was just a convergence of dissatisfaction and word passing here to here to here, and somebody shoots him.”

Living in the past as Ellroy does with such relish must make the present seem terribly dull. Yes, contemporary life, he says, shocks and bores him. “Satire irks me; irony irks me; nihilism irks me; loud, discordant music irks me. I find the canonisation of rock’n’roll especially puerile: institutionalised rebelliousness of the worst sort. Yeah. I can’t believe the staying power of rock’n’roll when you can listen to classical music or jazz. I’m not a misanthrope, but I crave peace and quiet or intense rapport.”

He avoids “distractions” such as newspapers and television. What little he claims to know about current affairs, he says, he picks up inadvertently from the plague of televisions that have invaded restaurants in the US. “The American language has become horribly mangled. Especially among young women, it’s as if feminism never existed. Young women in LA — pierced, lacquered, varnished, enhanced, tattooed — they could not have coarsened themselves more. It’s only a brief moment before they say ‘it’s like’ or ‘I’m like’.”

To illustrate his point he recalls a conversation he recently overheard: “A young woman was trying to tell her friend that she had turned down the advances of a suitor. And she couldn’t even say, ‘I rejected him’. She said: ‘It’s like, it’s like, it’s like, like, I’m like, it’s like … No!’ It was the most amazing thing! So you have a full generation now who sound equivocal, mitigating, befuddled, unable to exposit their lines in any kind of direct language whatsoever. Whatsoever!”

One suspects that he is particularly angry about this state of affairs because befuddled women are exactly the kind he doesn’t find attractive and so his pool of potential fantasy figures has become dramatically reduced. But who is to blame?

“Kinetic art, I think, is partially at play.”

What does he mean by kinetic art?

“Movies are very, very fast-paced. I tried to watch one of the Bourne thrillers with Matt Damon. Couldn’t watch it, felt like I was having a coronary. And the vulgarity of reality television shows. People seem to be proud to be stupid. I’m just not a liberal and I’m trying not to mess with people’s heads as much as I used to. I’m trying. Yeah.”

This idea of redemption and the reformed character are key themes in his life and his work: it’s there in Blood’s a Rover in the form of an unprecedentedly hopeful ending and it’s there when he says, repeatedly, that he’s trying to grow up, and that this time he’s found The One, a woman called Erika.

What about the tenuously reformed pervert. Is that still him?

“I’m a son of a woman who was raped and murdered. It’s core-deep with me. It’s suffused with discernment and I grew up in an era of privation and so sex wasn’t available and the era of privation, fuelled by my unhygienic state and lack of social skills, induced a great gratitude for me when I finally grew up and changed my life a little bit. And it fuels me still. I’ve never lost a teenage boy’s awe pertaining to sexuality. It’s the old joke, ‘I want to find the guy who invented sex and ask him what he’s working on now’. It says it all. It Says It All. I live there.”

Which I suppose explains why, when I asked him whether in Erika he’d at last found peace of mind, he suddenly looked quite agonised: “There is a sob in my throat from here on up for women and at times it’s almost unbearable,” he gasped. “It’s just f***ing unbearable.” I believe him, although I doubt it’s the first time he’s said so to a female interlocutor — it’s the kind of save-me vulnerability that so many women find irresistible.

Half an hour later he’s on stage, thrilling his predominantly male fans with his all-American alpha male act. The talk is all conspiracy theories and the Mob. He’s a woman’s man but a man’s writer. And, surrounded by men, there is no trace of the impulsive, complicated, mother-struck, lunatic romantic that will always be lurking underneath.

Biography

James Ellroy was born in Los Angeles in 1948. His mother was raped and murdered when he was 10. He was expelled from school and was dishonourably discharged from the army just before his father died. By 18 he was living on the streets, drinking heavily, taking drugs and involved in petty crime. After rehab he worked as a golf caddy and published his first novel, Brown’s Requiem, at 30. He earned critical acclaim for the L. A. Quartet and wrote a memoir, My Dark Places, an attempt to trace his mother’s killer. The self-described best crime writer in the world has written 18 books. He has been married twice and lives in Kansas City.

Small talk

On his writing

I want to move people. I want to obsess people. I want people to live at the extreme mental pitch that I work at when I write a book.

On Los Angeles

It’s uncivilised: there are too many cars, too many people. Parking’s a pain in the ass.

On language

The idiom has always lived in me. Alliteration, Yiddish, racial invective, hipster talk, general profanity, it’s been there and I’ve always loved words and I’ve always been talking to myself and having conversations with myself when no one else is in the room.

On Beethoven

There’s a 20-minute piece of Beethoven that describes the conjunction of men and women for me. It’s the third movement of the Hammerklavier Sonata. It’s the most sublime slow movement in solo instrumental history.

From The Times

November 14, 2009

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