J.R.R. Tolkien – Blood and Porridge

October 31, 2025

10 scary pictures for Halloween 2025

It’s October 31^st, the day of the spooky festival known in Ireland as Samhain and elsewhere as Halloween. As is my custom each Halloween, I’ll celebrate the spirit of the occasion by posting on this blog ten of the creepiest or most unsettling pieces of artwork I’ve come across during the year. By the way, the above photos are of a house in my immediate neighbourhood in Singapore. Its inhabitants must really love Halloween.

Let’s begin with a great, old-school horror illustration where an unwary boatman has an encounter with a marsh-monster. This was painted by the late Angus McBride, an artist who was born in London to Scottish parents but spent much of his professional career based in South Africa. McBride’s resume included work for the educational magazines Look and Learn (1962-82) and Worlds of Wonder (1970-75), the Men-at-Arms series from Osprey Publishing and the tabletop game Middle-earth Role Playing inspired by the works of J.R.R. Tolkien. In fact, it’s from a collection of those last illustrations – Angus McBride’s Characters of Middle-earth (1990) – that this ghoulish picture comes. The hideous beastie is actually a Mewlip, which The One Wiki to Rule Them All describes as ‘a fictional race, made up by Hobbits of the Shire, mentioned only in one poem.’

© Iron Crown Enterprises

Onto something more elegant. I love old posters and illustrations advertising that most decadent of alcoholic drinks, absinthe. These were often the work of Art Nouveau artists, most famously, Alphonse Mucha. But away from the gentle curves and nymph-like belles dames of Art Nouveau, there’s a darker school of absinthe artwork, which suggests the drink’s more sinisterly seductive and ruinous side. These feature green devils, black cats and, depicted in this painting from la Belle Epoque, a splendidly vaporous green lady-ghost. It’s entitled Absinthe Drinker and is the work of the Czech artist Viktor Oliva, who reputedly quaffed much of the stuff in Paris in the late 19^th century. Absinthe Drinker now hangs in the Zlata Husa Gallery in Prague.

From wikipedia.org

You get the impression la Belle Epoque passed by the great Norwegian painter Edvard Munch, whose paintings – most famously The Scream (1893) – often suggest he lived in a state of perpetual, nerve-jangling anxiety. During his childhood, he suffered the trauma of losing his mother and sister to tuberculosis and getting a bout of it himself when he was 13: “One Christmas Eve, when 13 years old, I lie in my bed,” he recalled. “The blood trickles from my mouth – the fever rages in my veins – fear cries out deep within me. Now, now, in just a moment, you will meet your Maker and be sentenced for eternity.” In 1893, drawing on those experiences, he painted By the Death Bed (Fever) with pastels. He would do further versions of it, with oils in 1895 and 1915 and as a lithograph in 1896. It’s the 1915 By the Death Bed (Fever) that I find most disturbing. The white-skinned, almost skull-faced woman on the right could pass for the Angel of Death, while the appropriately diseased-looking wallpaper resembles a close-up of a yellow handkerchief, into which a TB victim has just coughed globs of blood. Actually, the décor puts me in mind of one of the best horror short stories of all time, Charlotte Perkins Gilman’s The Yellow Wallpaper (1892).

From archive.com/artwork

Another all-time classic horror short story is M.R. James’ Casting the Runes (1911), which taps into the fear there’s something monstrous and nasty following you, and following you, and all the time getting closer… The story was filmed as Night of the Demon in 1957, 21 years after James’ death. I think James would have approved of the creepy atmosphere and build-up created by director Jacques Tourneur, but not of big, shonky-looking demon that’s doing the following and appears at the movie’s climax. Apparently, it was shoehorned into the film by its producers, against Tourneur’s wishes. Still, I really like this colourful poster for the movie, painted by Spanish artist Enrique Mataix. Mataix produced movie posters for almost a half-century, from 1939 to 1988, including ones for Bringing Up Baby (1938), Waterloo Bridge (1940), The Glenn Miller Story (1954), Lust for Life (1956), North by Northwest (1959) and Anatomy of a Murder (1959). Yes, his Night of the Demon poster gives prominence to that silly demon, but it’s slightly blurred, which hides its shonkiness. And the surrounding, infernally psychedelic colours are striking.

From monsterbrains.blogspot.com / © Columbia Pictures

This next work, Can You Show Me the Way Home by Californian artist Brandi Milne, feels like it could be an illustration from a movie poster. Maybe one for a warped 1960s psychological thriller where children are imperiled, like Bunny Lake is Missing (1965), The Nanny (1965) or The Mad Room (1969). Of course, it also echoes that hoary old 1958 sci-fi / horror movie The Fly, whose finale has a human / fly hybrid – David Hedison’s tiny head grafted onto a fly’s body – trapped in a spider’s web, while the humungous spider crawls hungrily towards it. Rather than an attached-to-a-bug David-Hedison-head, Can You Show Me the Way Home artfully features a detached doll-head. Also, it’s disarmingly presented in a child-like palette of black, white, grey, pink and straw-yellow. Though going by the size of the doll-head, its spider must be pretty humungous too.

From dorothycircusgallery.com / © Brandi Milne

And there’s an obvious cinematic vibe – J-Horror this time – from this picture by Ohio-based concept artist David Sladek, aptly titled Waiting at the Wrong Bus Stop. It strikes a particular chord with me. During my misspent youth, I occasional spent too long in a pub on a Friday or Saturday night and then found myself waiting for a late-night bus, in a decrepit and remote bus shelter, in the company of various unsavoury-looking characters. Though none of them ever looked as unsavoury as the characters here.

From artstation.com / © David Sladek

And now for something completely different. For depictions of the surreally ghoulish, you can’t beat Hieronymus Bosch. Here’s a detail from The Garden of Earthly Delights, the legendary triptych the Dutchman painted between 1490 and 1510. Its panels depict the paradise that’d been the Garden of Eden, the titular garden with its cavorting, amorous nudes and… hell. Obviously, the hell-panel contains the images that everyone remembers. This part of it shows a knight being devoured by what Wikipedia describes as ‘a pack of wolves’, though to me they look more that horror-story staple, rats – giant ones. No doubt the thoughts flashing through the unfortunate knight’s brain are similar to the thoughts of the first victim in James Herbert’s 1974 paperback epic, The Rats: “Rats! His mind screamed the words. Rats eating me alive! God, God help me…”

From smarthistory.org

And keeping with rats, this gleeful-looking half-human, half-rat creature never fails to give me the creeps. It’s the work of the American artist Brom, originally from Albany, Georgia. His career has included illustrating the roleplaying worlds of Dungeons & Dragons and, more recently, providing pictures for as well as writing his own horror novels. This illustration comes from his 2021 novel Slewfoot: A Tale of Bewitchery.

From bromart.com / © Gerald Brom

Meanwhile, proper wolves – though perhaps they’re werewolves – feature in this beautifully evocative watercolour, ink and pencil work done by the Swiss artist Eugene Grasset in 1892, Three Women and Three Wolves. I love everything about it: the trio of eerily floating women, who must be witches, or nymphs, or spirits, and the half-shocked, half-indignant way the nearest woman looks out of the picture at us; the three black wolves also looking, and laughing, out of the picture; the subtly-patterned russet trunks of the forest trees; the carpet of ferns. And what’s that lying in the bottom left-hand corner? A horn? A hunting horn? Have the wolves just been chomping on a huntsman? No wonder they look so jolly.

From wikipedia.org

There aren’t any wolves, giant rats, giant spiders, J-Horror apparitions or any other monstrosities in this illustration by another Californian, Michael Whelan, described as ‘one of the world’s premier artists of imaginative realism’ and the most lauded artist in the history of science fiction. (He has 15 Hugo Awards under his belt for a start.) Done in acrylic, it’s an interior illustration for a Centipede Press edition of the famous H.P. Lovecraft novella At the Mountains of Madness (1931) which, as far as I can ascertain, hasn’t been published yet. It’s the pictorial equivalent of a cinematic reaction shot. But what a reaction. The screaming explorer conveys all the cosmic horror that makes this particular story, set in the wastes of Antarctica, so claustrophobic. Particularly clever are the margins of grey fur along the edges of the explorer’s garments. They’re arranged so that they resemble that most Lovecraftian of motifs – a coiling tentacle.

From dmrbooks.com / © Michael Whelan / Centipede Press

And on the subject of H.P. Lovecraft… I traditionally feature ten scary pictures in these annual Halloween posts. But this year, here’s an extra one, an eleventh, in honour of the legendary New Jersey artist Stephen Fabian, who sadly died in May this year (admittedly at a grand old age of 95). I admire the black-and-white interior designs he did for a 1998 volume entitled In Lovecraft’s Shadow, which is a collection of short stories not by Lovecraft but by his pen-friend and posthumous publisher August Derleth. Unfortunately, reproducing an entire illustration on this page would mean reducing it and shedding some of its intricate detail. So here’s part of an illustration for the 1948 Derleth short story Something in Wood. It shows a statue of Lovecraft’s ghastliest and most famous deity, Cthulhu, looking tentacle-y and baleful, as ever.

© Mycroft & Moran / Stephen E. Fabian Sr

Happy Halloween!

November 5, 2024December 4, 2024

Rab Foster gets grim

© Schlock! Webzine

Rab Foster, my penname when I write fantasy fiction, has just had a new story published. It’s called The Mechanisms of Raphar and it appears in the November 2024 – Volume 18, Issue 13 – edition of Schlock! Webzine.

Once upon a time, I believed fantasy fiction came in two varieties only. One type consisted of 1000-page-long, telephone-directory-sized epics whose narratives involved quests, wizards, kings and queens, elves, hobbits and orcs and the first thing you saw when you opened the books was a lavishly detailed map of the fantasy-land in question. This J.R.R. Tolkien-esque variety was known as ‘high fantasy’. Alternatively, there were short stories where Conan the Barbarian, armed with only a broadsword and a leather jockstrap, cut a bloody swathe through enemy warriors, slew the occasional giant snake and earned himself the adoration of the occasional busty maiden. These were examples of the more down-and-dirty ‘sword and sorcery’ variety, of which Robert E. Howard was the leading practitioner.

But not anymore. Nowadays, if I type the question, “What are the different types of fantasy fiction?” into Google, it gives me 24 sub-genres. These include all sorts of nice, cheery-sounding things such as ‘hopepunk’ (“about characters fighting for positive change, radical kindness, and communal responses to challenges”), ‘romantasy’ (which are “typically set in fantastical worlds, with fairies, dragons, magic, but also feature classic romance plotlines – enemies-to-lovers, soulmates, love triangles”) and ‘cosy fantasy’ (“works that contain or portray a comforting healing ambience to the story… centre on slice of life moments… and are often gentle in their narratives”). A well-known example of that last sub-genre is Travis Baldree’s 2023 novel Legends & Lattes, in which an orc and a succubus join forces to… open a coffee shop. Now I’m not going to slag off Legends & Lattes because it’s wrong to diss a book I haven’t read. Let me merely say it doesn’t sound like my cup of tea. Or indeed, cup of coffee.

Meanwhile, at the opposite end of the niceness spectrum from hopepunk, romantasy and cosy fantasy is… grimdark. This is the nihilistic, blood-soaked, everyone’s-a-bastard variety of fantasy most famously essayed in George R.R. Martin’s Game of Thrones books (1996-2011) and TV series (2011-19). The science-fiction author Adam Roberts has described grimdark as fantasy stories where “nobody is honourable and might is right”, and which “turn their backs on the more uplifting Pre-Raphaelite visions of idealised medievaliana, and instead stress how nasty, brutish, short and, er, dark life back then really was.”

I’m not that big a fan of grimdark. I sometimes find its ‘everything sucks’ attitude rather adolescent. But The Mechanisms of Raphar is pretty grim, and pretty dark, so I guess it qualifies as a story of this type. I’ve experienced a few lows recently, especially in my professional life, and I can hardly say I’m enchanted with the state of the world in 2024, so perhaps the story is a manifestation of my current discontent.

The Mechanisms of Raphar was vaguely inspired by the Edgar Allan Poe story The Pit and the Pendulum. Unlike the famous 1961 movie version directed by Roger Corman, which was about Vincent Price mourning his dead wife in a castle that coincidentally happened to have a few torture instruments stowed in its cellar, Poe’s original tale is about a prisoner of the Spanish Inquisition who tries to withstand the various devices of torture they use against him. In The Mechanisms of Raphar, the villains are an insane, sado-masochistic religious cult who worship a god of pain, have a giant temple that’s packed full of torture-machines, and make their services available – for a fee – to people who want other people to suffer horribly, such as despots and their prisoners or other religions and their heretics. I’m from Northern Ireland, so I don’t have a high opinion of organised religion. I think this shows in the story.

Incidentally, the name ‘Raphar’ is nearly an anagram of ‘Haw Par’, which is my tribute to Haw Par Villa, the most extraordinary museum in Singapore. Haw Par Villa’s most famous – or notorious – attraction is a graphic representation of the Ten Courts of Hell where you can see the souls of sinners being horrifically tortured and punished for the crimes they committed while they were alive. Indeed, the ‘Tree of Blades’ that features in the story is inspired by the ‘Tree of Knives’, festooned with bloodied bodies, on display in Haw Par Villa’s depiction of hell.

Until the end of November, The Mechanisms of Raphar can be read here, while you can access the contents page of Volume 18, Issue 13 of Schlock! Webzine here.

And now that I’ve hopefully worked that bloodlust out of my system, maybe I will write a cosy fantasy next… Maybe my next Rab Foster story will be one where a kelpie and a balrog join forces to open a tea-room in Goblin-land.

March 1, 2024March 1, 2024

Who shot J.R.R.?

© George Allen & Unwin

I’ve never really liked J.R.R. Tolkien’s Lord of the Rings trilogy (1954-55). There… I’ve said it.

When I was a teenager I had The Fellowship of the Rings, The Two Towers and The Return of the King within the covers of one weighty tome that ran to 1077 pages. I stumbled through about 800 pages of it. Sometimes I left it aside for months and when I returned I had to reread long tracts of it to remind myself what was going on. Eventually, I abandoned it forever at the bit where Frodo and Sam blunder into the lair of Shelob, the giant spider. Thus, for years afterwards, I wasn’t entirely sure if (a) Frodo got to complete his quest, and (b) he didn’t end up as giant-spider-food. Though, given the probability of a happy ending, I assumed that (a) he did, and (b) he didn’t. Finally, in 2003, I saw Peter Jackson’s film adaptation of The Return of the King and my assumptions were confirmed.

I found Tolkien’s writing style plodding at times, but what really defeated me was the dullness of the characters. The evil ones (Gollum, Saruman) were interesting, but as far as the good guys were concerned, the ones I was supposed to be rooting for… Dearie me. I had hopes for Aragorn early on, in his guise as the enigmatic Strider, but my curiosity soon waned. Boromir was agreeably conflicted, but he didn’t make it beyond the end of The Fellowship of the Ring. (In the 2001 movie version, he’s played by Sean Bean, so you know immediately what’s going to happen to him.) Meanwhile, the Hobbits of the Shire were insufferably bland. Their nicey-nicey, respectable, know-your-place-and-respect-your-betters manner so annoyed me that I suspected if the Shire had newspapers, the Daily Mail and Daily Express would dominate the market. Sam Gamgee, tending to Frodo like a batman serving a member of the officer class, was particularly irksome in his cap-doffing.

No wonder the fantasy and science-fiction author Michael Moorcock wrote sourly of Lord of the Rings: “If the Shire is a suburban garden, Sauron and his henchmen are that old bourgeois bugaboo, the Mob – mindless football supporters throwing their beer bottles over the fence, the worst aspects of modern urban society represented as the whole by a fearful, backward-yearning class for whom ‘good taste’ is synonymous with ‘restraint’… and ‘civilised’ behaviour means ‘conventional behaviour in all circumstances’.”

And though I was a teenager at the time, I don’t think it’s likely that if I read The Lord of the Rings now, I’d have an epiphany, revise my opinion of the trilogy and acclaim it as a masterpiece. For one thing, I read Ursula K. Le Guin’s original Earthsea trilogy (1968, 70 & 72) and Mervyn Peake’s Gormenghast trilogy (1946, 50 & 59) around the same time and thought they were brilliant. Indeed, the first two Gormenghast volumes are among my all-time favourite books. Also back then, I tried reading Stephen Donaldson’s Lord Foul’s Bane (1977), which is sometimes credited with kickstarting the ‘grimdark’ movement in modern fantasy – more on that in a moment – and thought it was dreadful shite, an assessment shared by many people whose judgement I trust. So I doubt if my evaluation of Tolkien today would be any different.

© Penguin Books

I should add that I never had a problem with the Lord of the Rings movies. However, I generally see literature as a denser, more complicated and more profound medium than cinema. And though something might seem a bit staid when written on the page, that doesn’t necessarily mean it’ll be ineffective in the less demanding medium of images and sounds that greets you when you enter a cinema or log into a movie-streaming service. For me, Lord of the Rings was perfectly palatable as a series of two-to-three-hour viewing experiences where you could enjoy the performances of some great actors and actresses (Ian McKellen, Andy Serkis, Cate Blanchett, Viggo Mortensen, Christopher Lee et al), the stunning New Zealand scenery and Peter Jackson’s obvious flair for orchestrating action and spectacle. They contained too much CGI, of course, but that goes without saying these days.

So, why am I writing this? Well, last month saw the publication of an essay entitled Grimdull in the Critic, which Wikipedia describes as a ‘monthly British political and cultural magazine’ whose contributors ‘include David Starkey, Joshua Rozenberg, Peter Hitchens and Toby Young’. The swivel-eyed loopiness of three of those four contributors should give you an idea of where the Critic stands on the political spectrum. The essay’s writer Sebastian Milbank – also The Critic’s executive editor – says this of the author of Lord of the Rings:

“Those who followed Tolkien, even from a commercial perspective, understood that modern fantasy was following in his wake; he gave a sense of moral and literary seriousness to the building of imaginary worlds, which would otherwise be absorbed into moralistic allegory or semi-comical whimsy. Tolkien’s world feels ‘real’ not only because of his attention to detail, but because he builds a sense of emotionally freighted history and recognisable moral stakes, set out in a language strange enough to be compelling, familiar enough to be taken seriously.”

Alas for Tolkien’s worthy legacy, Milbank argues, modern fantasy writing has been taken over and corrupted by grimdark, ‘a recent coinage for an ongoing craze in “gritty” and dark fantasy settings’, popularized by writers such as Joe Abercrombie, Mark Lawrence and the blockbusting, blood-tits-and-dragons-meister that is George R.R. Martin. “It’s a genre…” Milbank bellyaches, “generally in a mediaeval fantasy setting, but shorn of any romance. Characters are overwhelmingly cynical, and those few who exhibit nobility are treated as foolish or naive. Generally a chaotic war is happening, or about to happen. Religion features, but largely as a tool of social control, often portrayed… as even more cruel and cynical than the secular world around it. Dark observations about human nature substitute for any moral drama, with characters seeking to outwit, manipulate or overpower one another in a kind of Darwinian struggle for dominance.”

© Bantam Books

Even worse, laments Milbank, it’s all the fault of the liberal left. “It’s a script born of vaguely liberal, vaguely radical, vaguely anarchic sentiments common to most contemporary creative ‘industries’.”

Who shot J.R.R.? Those lefty grimdark degenerates did! Basically, Milbank’s trying to open another front in the culture wars. This time it’s evil, modern fantasy writers versus the decent, traditional, conservative values embodied by Tolkien.

So much is wrong in his analysis that I don’t have time to detail it all here. I’d direct you, though, to this recent riposte penned by the writer Cora Buhlert. Firstly, she takes Milbank to task for his many omissions, made either through ignorance of fantasy literature or through disingenuity. In presenting the field as a simple battleground between Tolkien and grimdark, he ignores Mervyn Peake, Lord Dunsany and the copious fantasy writing that went on in the old American pulp magazines, by the likes of Robert E. Howard, Fritz Leiber and C.L. Moore, which helped popularize the sub-genre of sword and sorcery and gave us the character of Conan the Barbarian. Simultaneously, Buhlert notes, no mention is made of other trends in modern fantasy writing, such as hopepunk, cosy fantasy or romantasy.

Indeed, she points out how Milbank doesn’t so much move the goalposts in his definition of grimdark as go sprinting off with the goalposts over his shoulders. In the course of his tortured polemic, he refers to TV shows like The Walking Dead (2010-22), Boardwalk Empire (2010-14) and Breaking Bad (2008-13) and superhero movies like Captain America: Civil War (2016). Two of those examples aren’t remotely classifiable as fantasy – unless I remember wrongly and Walter White was actually an Orc – while the other two have nothing to do with the literature, set in medieval fantasy worlds, that he’s allegedly writing about.

Milbank also takes potshots at Philip Pullman, even though, as Buhlert observes, books like Pullman’s His Dark Materials trilogy (1995-2000) aren’t grimdark either. Presumably, Pullman gets a mention because, as a famous atheist, he’s a red flag to a bull as far as crazed Christian-morality-campaigners are concerned. (“Philip Pullman is a stupid, delusional, immoral, inhuman piece of garbage, while C.S. Lewis and J.R.R. Tolkien were geniuses, amazing authors, and great human beings,” declared one comment I read on an American fantasy website recently.) And predictably, he slates Michael Moorcock for being ‘terribly dated’ in his anti-establishment views. Strangely, considering how Moorcock’s fantasy stories have greatly influenced the modern fantasy genre too, Milbank attacks him using the example of his 1966 novella Behold the Man, which is actually a work of science fiction.

One other serious flaw that Buhlert identifies in Milbank’s essay is his implication that Tolkien popularised fantasy fiction in one fell swoop in the 1950s. But it wasn’t until the 1960s, when Lord of the Rings appeared in paperback in the USA, and possibly not until the 1970s, when imitators like Terry Brooks began to publish doorstop-sized ‘high-fantasy’ trilogies of their own, that Tolkien’s influence really began to be felt.

© Overlook Press

I’d add that when I was a teenager it wasn’t just me and Michael Moorcock who disliked Tolkien. I got the impression he wasn’t particularly valued by the literary establishment – whose posh, starchy gatekeepers at the time are probably the sort of chaps whom the young-fogeyish Milbank looks back on with great admiration. Indeed, Edmund Wilson famously dismissed Lord of the Rings as ‘a children’s book that somehow got out of hand’, ‘an overgrown fairy story’, ‘balderdash’ and ‘juvenile trash’. Anthony Burgess conspicuously failed to mention it in his volume Ninety-Nine Novels: The Best in English since 1939, though he was broadminded enough to include science-fiction and fantasy books by and / or authors like Brian Aldiss, J.G. Ballard, Alasdair Gray, George Orwell, Keith Roberts, T.H. White and, yes, Mervyn Peake in his list.

Cora Buhlert complains that Milbank’s essay “feels as if it time-travelled here from the early 2010s… Honestly, has Sebastian Milbank read a single novel or watched a single TV show that came out in the last five years?” Actually, I get the impression he probably did write the thing about a decade ago, perhaps as a moan against the then astronomical popularity of George R.R. Martin’s Game of Thrones (2011-2019) TV series. But, recognising the essay’s myriad shortcomings, he left it on the shelf – until now.

Because today we live in a time where Britain’s Conservative Party politicians, and their hordes of supporters who infest the mainly right-wing British media, are aware that, if the opinion polls and by-election results are to be believed, they’re in for a massive humping at the next general election. So dismal have the Conservatives’ 14 years in government been that their only strategy now is to try and ignite, and fight, a massive culture war on all fronts imaginable.

Thus, we’ve had ex-Tory-prime minister, and catastrophe, Liz Truss – her with the shelf-life of a lettuce – raving about her premiership being sabotaged by ‘trans-activists’ in the civil service. Former Deputy Conservative Party Chairman ‘30p’ Lee Anderson claiming that London’s Labour Party mayor is in the pocket of ‘Islamists’. Neil Oliver ranting about vaccines on far-right channel GB News. The Daily Mail dismissing young people’s mental health problems as ‘snowflakery’. The police, the universities, the judiciary, the National Trust, Net Zero, speed restrictions, the English football team, TV sitcoms, Doctor Who, James Bond, you name it, British right-wingers have tried to pick a fight with it, often for the sin of being ‘woke’.

It was just a matter of time before they got around to modern fantasy literature. Hence, Tolkien’s been weaponized.

© New Line Cinema / WingNut Films

May 3, 2022May 16, 2022

Student politics

© Profile Books

I’ve just read a review in the Guardian of Simon Kuper’s new book, Chums: How a Tiny Caste of Oxford Tories Took Over the UK. Chums tell the real-life story of student politics at Oxford University during the 1980s, a world whose inhabitants would often become well-known public figures in the 21^st century. On the Labour side there were ‘the Miliband Brothers, Dave and Ted, and Eddie Balls and Yvette Cooper’, who were busy ‘organising rent protests at their respective colleges’. However, it was some Conservative student politicos at Oxford in the 1980s who’d become particular big-hitters and who’d handle – or mishandle – the levers of power in Britain during the 2010s and 2020s.

They included Michael Gove, whom Kuper says was bought, wearing a kilt, for 35 pounds at a charity-fundraising ‘slave auction’ at Oxford Union in 1987. Even in 2022 and even after three-and-a-half decades of inflation, 35 pounds seems rather more than Michael Gove is worth, though maybe the kilt bumped up his value a bit.

They also included Britain’s current Prime Minister, the walking disaster area that is Boris Johnson. Recently, the Mail on Sunday claimed that Johnson’s ‘Oxford Union debating skills’ were so formidable that, during debates in the House of Commons, Labour’s working-class, comprehensive-school-educated deputy leader Angela Rayner had to resort to crossing her legs like Sharon Stone in Basic Instinct (1992) to distract him. According to Kuper, the young Johnson’s debating strategy was ‘to defeat opponents whose arguments were better simply by ignoring their arguments’ and rely instead on ‘carefully timed jokes, calculated lowerings of the voice, and ad hominem jibes’.

Also spicing up life in 1980s Tory Oxford University was David Cameron, though he was ‘rich enough and connected enough to feel himself above the “hackery” of student politics’; the BBC’s future political editor Nick Robinson; Daniel Hannan, NHS-basher, Enoch Powell fan, arch-Brexiteer and now in the House of Lords as Baron Hannan of Kingsclere, who, it’s been said, ‘may have contributed more to the ideas, arguments and tactics of Euroscepticism than any other individual’; and the future spin-doctoring Svengali behind Boris Johnson, Dominic Cummings. Cummings, apparently, was a protégé of Dr Norman Stone, the historian, lecturer, author, advisor to Margaret Thatcher and student-groping pisshead from Glasgow. One obituary published after Stone’s death in 2019 hilariously noted that he ‘hated Oxford, which he thought… was full of Marxists.’ Actually, I can’t imagine Stone and Cummings together without thinking of Saruman and Grima Wormtongue in The Lord of the Rings movies (2002-04).

© New Line Cinema / WingNut Films

Incidentally, Kuper acknowledges that Oxford University educated and employed not only J.R.R. Tolkien but also Lewis Carroll and C.S. Lewis. He notes how ‘the timeless paradise of Oxford inspired its inhabitants to produce timeless fantasies like Alice in Wonderland, The Hobbit, Narnia and, incubating from the late 1980s, Brexit.’

Anyway, apart from making me mightily glad that I didn’t attend Oxford University during the 1980s, reading about Kuper’s book has got me thinking about the place where I was a student during the 1980s, Aberdeen University. What about the student politicians I encountered there? Did any of them ever get near – remotely near – those all-important ‘levers of power’? There follows a heavily revised, fully up-to-date version of a piece about this subject I first posted in 2014.

To be honest, I wouldn’t have encountered any student politicians at all if I hadn’t got involved with Aberdeen University’s student newspaper and co-edited it for a term in 1986. The newspaper office was located in the same building as the offices and meeting rooms where the members of the Students’ Representative Council did their business. And obviously, those student politicians also figured in a lot of the stories we reported on. So, I got to observe the species close up.

The one who probably did best for himself was Stephen Carter, who served as SRC President from 1985 to 1986. I found Carter lacking in warmth, humour and character and at one point, in a fit of naughtiness, I published in the newspaper a spoof article depicting him as an aloof Roman Emperor in the manner of Robert Graves’ I, Claudius novels. The article was entitled I, Carterus. We didn’t get on very well, though not because I’d likened him to one of the Caesars. Near the end of my editorship, I wrote a front-page article that made several criticisms of his reign as student president, which infuriated him. To be fair, I later discovered that I’d made an error with a financial figure I’d quoted, so at least part of his anger was justified. Being bawled out by the bland, automation-like Carter was a strange experience. The abuse didn’t seem to emanate from a real human being. It was like being scolded by an indignant speak-your-wait machine or a cranky elevator voice-recording.

From gov.uk

Decades later, in 2008, Carter served as Gordon Brown’s Downing Street Chief of staff. Also, from 2008 to 2009, he was Brown’s Minister for Communications, Technology and Broadcasting. As he wasn’t a member of either house at Westminster at the time, which would have barred him from taking on a ministerial position, he was quickly ennobled. He was made Baron Carter of Barnes and entered the House of Lords. I didn’t hear much about how that he got in on those roles, except for claims that his relationship with Brown’s notorious spin-doctor Damian McBride was ‘fractious’. Actually, McBride was such a scumbag that it’s to Carter’s credit that the pair of them didn’t get along.

Coincidentally, days before Stephen Carter – sorry, Baron Carter of Barnes – ended his stint as Brown’s Chief of Staff, I found myself a full-time student again. In October 2008 I started an MA course at the University of East Anglia. The students there had mounted a protest against student debt, with hundreds of them sticking fake cheques to a campus wall. On each cheque was written the sum of money that each student expected to owe by the time of his or her graduation. To me (who’d graduated in 1987 with an overdraft of £1,500, which I paid off within two years), some of those sums were eye-watering: £40,000 or more. What, I wondered, would we have thought at Aberdeen University in the mid-1980s if we’d known that our student president would one day be a key figure in a government presiding over levels of student debt we wouldn’t have imagined in our worst nightmares?

Another student politician from that era who’s done well is Katy Clark. She was a leading light in Aberdeen University’s Labour Party and in 2005 became Labour Member of Parliament for North Ayrshire and Arran. Her career as an MP ended in 2015 with the virtual wipe-out of Scotland’s Labour seats that happened under the kamikaze leadership of Scottish Labour leader Jim Murphy and spin-doctor John McTiernan. However, she kept busy, working as a strategist for Jeremy Corbyn and authoring for him a review of the Labour Party’s democratic structures. Then, in 2021, she got elected to the Scottish Parliament as a Labour MSP for the West of Scotland region.

From wikipedia.org / © The Scottish Parliament

When I co-edited the student newspaper, Katy came to our attention when she led protests against Aberdeen University’s then-rector, the former Scottish National Party MP Hamish Watt. At a debate during Freshers’ Week, Watt had made some supposedly-jovial comments in which he compared the young female students who’d just arrived on campus to ‘unbroken fillies’. Now, while Watt undoubtedly deserved to be strung up by his sexist testicles, I didn’t enjoy having to speak to Katy about the incident. I found her to be intense, one-note, lacking in personality and devoid of humour. Actually, looking at what I’ve just written about Stephen Carter, a theme seems to be emerging in that regard.

Despite that, I felt some admiration for Katy because, unlike many other student politicians, she stuck by the left-wing principles she’d had as a university student and didn’t drift rightwards as she started to earn money. During her career as an MP, she voted against the introduction of ID cards, against the renewal of the Trident missile system and against bombing campaigns in Iraq. However, in 2020, that admiration was dampened by the fact that she accepted a peerage and entered the House of Lords as Baroness Clark of Kilwinning.

What were you thinking, Katy? I don’t know how any socialists could debase themselves by becoming members of the archaic, undemocratic and embarrassing Lords. It’s a place where you rub ermine-clad shoulders with the likes of Baroness Michelle Mone of Mayfair (who’s just had her home raided by police as part of a fraud investigation into her links with a dodgy PPE company); and Baroness Dido Harding of Winscombe (who got where she is today through cronyism and blew 22 billion pounds of taxpayers’ money on a failed Covid-19 track-and-trace system); and Baroness Claire Fox of Buckley (the former Revolutionary Communist Party member, Bosnian genocide denier and IRA supporter, now swivel-eyed Brexiteer and enthusiast for all things right-wing); and the afore-mentioned Baron Daniel Hannon of Kingsclere… and many more.

While she was there, I wonder if Katy ever bumped into her old Aberdeen University compadre Lord Carter of Barnes and they reminisced about their days on campus in the 1980s. (“What was the name of that hairy, beer-swilling prick with the Northern Irish accent who used to edit the student newspaper?” “Can’t remember…”)

I should add that while running for the Scottish Parliament, Katy promised to ‘stand down’ from the House of Lords; and, according to her Wikipedia entry, on becoming an MSP she took ‘a leave of absence’ from the decrepit institution. That, though, isn’t the same as ‘quitting’ it. Also, I notice that on Wikipedia she’s still billed as ‘Baroness Clark of Kilwinning.’

From wikipedia.org / © The Scottish Parliament

To the rightward end of the spectrum, meanwhile, I have to mention someone else from my old alumni – Murdo Fraser, who’s in the Scottish Parliament as an MSP for the Mid-Scotland and Fife region and was once deputy leader of the Scottish Conservative Party. That Murdo became a big name in Tory circles surprised me because he’d seemed an unprepossessing character in Aberdeen. The detail I remember most about him was that he wore a Glasgow Rangers scarf 24/7, to the point where I wondered if it’d been stitched on. A good friend who knew him a little, the late Finlay McLean, told me once that he had ‘the personality of a deep-frozen Cyberman’. Then again, for an ambitious politician, not having a personality seems to be part of the course.

Murdo’s political ascendancy happened despite the fact that he was once associated with the notorious Federation of Conservative Students, an organisation that by the 1980s had become more right-wing than the Conservative Party of which it was the university branch. At the time the Conservative Party was led by Margaret Thatcher, so being more right-wing than her was quite an achievement. In 1986, after a string of well-publicised incidents – wherein FCS members had abused ethnic-minority staff at student bars, brayed their support for the Contras in El Salvador, sang the Special AKA song Free Nelson Mandela with the words changed to ‘Hang Nelson Mandela’, and so on – this extreme-minded group was disbanded by Tory Party Chairman Norman Tebbit. And yes, being disbanded by Norman Tebbit for being too extreme was quite an achievement too.

The FCS at Aberdeen University were particularly obnoxious. Among other things, they had a penchant for insulting gay people and taunting them about AIDS. The start of my term as newspaper editor coincided with an incident wherein a bunch of FCS students invaded and disrupted a health-and-welfare talk being given to an audience of new students. Their motive for disrupting the talk seemed to be because it covered safe sex for gay as well as straight students and was therefore, somehow, encouraging AIDS.

Later, after the newspaper had published an article about the society for gay students, Gay Soc, we received a letter from one deranged FCS member accusing us of furthering the interests of ‘the plague rats of the 20^th century’. We published his letter in the belief that by allowing the FCS to air their views publicly, we were letting people see what arseholes they were. Give them enough rope and they’d hang themselves, we felt. However, at least one gay friend of mine was deeply upset that the letter had appeared in our newspaper. Today, 35 years on, I’d think twice about publishing it.

In Murdo Fraser’s defence, I’ll admit that he seemed aware of what a squad of bampots he was having to keep company with in the FCS. He kept his mouth shut when the rest of them were being as offensively vocal as possible, and whenever I saw them strutting about the campus en masse he seemed to trail silently and reluctantly along at the back, rather like Eddie Bunker’s Mr Blue in Reservoir Dogs (1992). Actually, being Mr Blue was appropriate given his footballing allegiances.

Having dissed the Labour and the Conservative Parties, I suppose in the interest of balance I should say something about Aberdeen University’s 1980s Liberal Party, the Liberal Democrats as they are now. The Liberals’ most visible representative was one Dan Falchikov who, with his excitable and eccentric manner and his striking dress sense (a psychedelically-coloured sweater), possessed something that other people I’ve mentioned lacked: a personality. And I think Dan was a genuinely well-meaning guy even if he wasn’t endowed with a great deal of common sense. However, he was also an easy target for us unscrupulous hacks at the student newspaper and we spent a lot of time poking fun at him, calling him ‘Dan the Man’, ‘Desperate Dan’ and (when he was being particularly off-the-wall) ‘Dan F**k-me-off’.

From the Sutton & Croydon Guardian

Out of curiosity, I googled his name a while ago and discovered that, in 2010, while he was a Liberal Democrat activist in the London constituency of Kingston-upon-Thames, Dan got himself embroiled in controversy. He was overheard boasting on a train that he’d managed to ‘plant’ a story, a false story, in the Evening Standard newspaper about the Labour Party having plans to close Kingston Hospital. Unbeknownst to Dan while he blabbed about this into a mobile phone, a train-passenger sitting nearby was none other than the journalist Kevin Maguire, political editor of the Daily Mirror. Maguire not only tweeted about what he was overhearing but also sneaked a camera-phone picture of Dan and posted it online. Thus, it was a bit unsettling to find the eccentric, psychedelically-sweatered Dan the Man of Aberdeen University dabbling in the political dark arts and establishing himself as the bad boy of local politics in Kingston-upon-Thames.

I should add that since then Dan seems to have ditched the Liberal Democrats and joined the Green Party. Considering that the Lib Dems were part of David Cameron’s discredited, austerity-obsessed coalition government from 2010 to 2015, and were disastrously led by Jo ‘nuke-’em’ Swinson in 2019, this suggests he has more sense than I’d credited him with.

I don’t think any of the student politicos I knew in the Scottish National Party went on to have political careers. Probably having to deal with Hamish Watt, the university rector, ex-SNP MP and vocal admirer of young unbroken fillies, put them off politics for good.

I’ve tried to keep this account of student politics at Aberdeen University light-hearted, but there were some goings-on I found pretty unsavoury. For example, before I graduated, some nasty rumours circulated in the SRC building about one student politician making another one pregnant. There wasn’t actually a pregnancy but this didn’t prevent two SRC people, from two different political parties, both of whom had axes to grind with the guy involved, from approaching me and assuring me it was true. One even swore that she’d seen the results of a pregnancy test. Presumably, I was fed this false information in the hope that, as a student journalist, I’d spread the word to the detriment of the guy’s reputation. Never mind what distress it’d cause him or the woman. None of the people I’ve mentioned above, I should say, were involved in this saga.

Some student politicians I did genuinely like. Indeed, if I ever bumped into the likes of Graeme Whiteside, Tim Morrison, Alan Strain or Stuart Black again on the High Street of Old Aberdeen, I’d invite them into the St Machar Bar and buy them a pint. However, with regard to those people, there’s a sobering point to make. None of those decent sorts, as far as I know, pursued their political careers any further than university. None of them ended up becoming real politicians.

It reinforces Douglas Adams’ famous comment in The Restaurant at the End of the Universe (1980) that “it is a well-known and much lamented fact that those people who most want to rule people are, ipso facto, those least suited to do it.”

November 18, 2021March 27, 2024

Spice-world: the movie

Like everywhere else, one sector in Sri Lanka heavily hit by Covid-19 was the country’s cinemas. In Colombo, establishments like the Liberty, Savoy and Regal had stood closed-up, empty and silent for so long that I’d begun to doubt if they’d ever open their doors again. However, with the Sri Lankan Covid-19 death toll down (for now), the authorities have permitted cinemas to reopen, albeit working at a reduced capacity. During the first half of November, their auditoriums could only be 25% full. For the month’s second half, the maximum capacity has been increased to 50%. To do our bit to help Sri Lanka’s beleaguered cinema industry, myself and a mate went a few days ago to the Scope multiplex at Colombo City Centre shopping mall. There, we watched Dune, this year’s big-budget, Denis Villeneuve-directed adaptation of the famous 1965 science-fiction novel by Frank Herbert. Or at least, Villeneuve’s adaptation of the first half of it, as Dune is one fat book.

And we had no regrets about seeing Dune in a cinema. It’s a visually majestic creation that needs to be seen on a big screen to be properly appreciated. In fact, you’ll be committing a minor crime against celluloid if you watch it in reduced form on a TV or laptop screen. And if you dare to watch it on a phone-screen… Well, you don’t deserve to live.

I have to say, though, that I read Herbert’s novel as a teenager and it was no favourite of mine. In part, my being unimpressed by it was probably down to bloody-mindedness. A lot of earnest, nerdy people gushed about how great it was, which probably predisposed me to not liking it. This was similar to my less-than-enthusiastic reaction to J.R.R. Tolkien’s much-worshipped Lord of the Rings – although unlike Rings, I did read Dune to the end. (With Rings, I gave up four-fifths of the way through.) Also, it didn’t help that I read Dune a couple of years after Star Wars (1977) came out. Many of the book’s plot elements – a scheming galactic empire, a desert planet, an elite sect with psychic powers – had recently featured in George Lucas’s sci-fi / fantasy blockbuster, so they seemed less fresh than they had in 1965.

Though I found Lord of the Rings overrated on the page, I did enjoy the movies that Peter Jackson made of it in 2001, 2002 and 2003. Well, apart from the last half-hour of the final one, The Return of the King, which consisted of nothing but various characters getting married. A second-rate reading experience can, with an excellent cast, a great director and all the epic locations and special effects that Hollywood money can buy, be turned into a first-rate viewing experience.

And so it is with Dune.

Its cast is wonderful – Oscar Isaac, Rebecca Ferguson, Timothée Chalamet, Stellan Skarsgard, Dave Bautista, Josh Brolin, Jason Mamoa, Charlotte Rampling, Stephen McKinley Henderson, Sharon Duncan-Brewster and Javier Bardem – and director Villeneuve has already helmed two of the past decade’s greatest sci-fi movies, Arrival (2016) and Blade Runner 2049 (2017). And its 165-million-dollar budget has been put to good use. The filming locations in the UAE and Jordan really do transport you to the film’s main setting, the endlessly sandy and murderously hot desert-planet Arrakis; while the special effects, conjuring up fleets of spacecraft that stand like gigantic, angular cathedrals when they’re parked on planets’ surfaces, but look as tiny and inconsequential as pollen-grains when they’re bobbing in the black void of space, are stunning. Hence, the absolute necessity to see Dune on a large screen.

Denis Villeneuve, of course, isn’t the first filmmaker to bring Dune to the screen, for an earlier cinematic version of it had appeared in 1984, directed by that genius of visionary weirdness, David Lynch. The 1984 Dune was a box-office flop and received much abuse from critics – I remember the New Musical Express retitling it Dung – but I didn’t think it was that bad. Lynch added some delightfully bizarre touches to the story and he arguably had an even better cast of actors than Villeneuve: Kyle MacLachlan, Jurgen Prochnow, Francesca Annis, Kenneth McMillan, Paul Smith, Patrick Stewart, Richard Jordan, Freddie Jones, Sian Phillips, Virginia Madsen, Jack Nance, José Ferrer, Everitt McGill, Brad Dourif, Max von Sydow and the great (and now, sadly, late) Dean Stockwell. Sting was in it too.

Alas, Lynch’s producer was old-school movie mogul Dino De Laurentiis, who wanted Dune to be a regulation two-hour movie. Cramming all the events of Herbert’s doorstop-sized book into that caused massive problems for the script. Early on, Lynch had wisely envisioned Dune as two movies, and then proposed it as a three-hour film, but this cut no ice with old Dino.

I remember going to see Lynch’s Dune at a cinema in Aberdeen with my girlfriend of the time. Having read the book I was familiar with the plot, which goes like this… (Beware – spoilers are coming.) In the distant 102^nd century, the galaxy is ruled by an empire that incorporates a number of powerful families, or Houses. One of these, the House Atreides, headed by the well-meaning Duke Leto (Isaacs in the new Dune, Prochnow in the old one), his ‘concubine’ Lady Jessica (Ferguson now, Annis then) and their son, the young Paul (Chalamet now, MacLachlan then), is entrusted with running the desert-planet Arrakis. Arrakis is vital for the Empire because a mysterious ‘spice’- in reality a consciousness-expanding drug – is mined there and its properties enable spaceship-navigators to find their way through interstellar space. The planet’s indigenous inhabitants, the reclusive and Bedouin-like Fremen, are suspicious of the Atreides because previously the Empire had put them under control of another House, the Harkonnen, who treated them genocidally.

Before Leto can win hearts and minds on Arrakis, the Harkonnen launch an attack to retake the planet, with the Emperor’s blessing – the whole manoeuvre has been a plot to get rid of the potentially troublesome Atreides. The Atreides are wiped out, save for Paul and his mother Jessica, who flee into the planet’s deserts. They now have the formidable task of rallying the distrustful Fremen and persuading them to retake Arrakis from the homicidal Harkonnen – which, in the book’s later stages, they do.

Villenueve’s film ends with Paul and Jessica fleeing the Harkonnen – a second Dune movie, which will tell the remaining story, has now been greenlighted. Poor old Lynch, though, had to squash everything into just over two hours. I remembering being in an Aberdonian pub after seeing his Dune with my ex-girlfriend, who hadn’t read the book. I spent about an hour trying to explain the film’s plot to her, which she’d been flummoxed by.

Villeneuve’s Dune only covers half of the book and is still 19 minutes longer than Lynch’s version, so obviously the story gets more space to breath. This also enables Villeneuve to do a lot of the important sci-fi business of ‘world-building’. It’s gratifying too that Dune’s secondary characters, the various soldiers, courtiers and allies of the House Atreides, like Gurney Halleck (Brolin now, Stewart then), Duncan Idaho (Mamoa now, Jordan then), Thufir Hawat (McKinley Henderson now, Jones then) and Dr Liet-Kynes (Duncan-Brewster now, von Sydow then) get much more time to establish themselves and win the audience’s sympathy. In the compressed 1984 Dune, their roles were brief and their deaths, if they occurred, were blink-and-you’ll-miss-them events.

Certain critics have sniped at this new version of Dune for being humourless. Now while I admit to counting a total of three jokes during the film’s entire 157-minute running time – it’s telling that two of those jokes turn up in the trailer – I have to say I found it refreshing to experience a science fiction film willing to treat its subject matter seriously and not populate it with, say, bumbling comedy droids or wisecracking bipedal rodents. In effect, those critics are showing their snobbery. They’re protesting: “But this is just science fiction! It’s not, it can’t be serious! You’ve got to have bumbling comedy droids in it! And wisecracking aliens!” So, stuff ’em.

One thing David Lynch’s Dune was memorable for was its depiction of the Harkonnen. Played by Kenneth McMillan, Paul Smith, Brad Dourif and Sting, they were a grotesque, evilly-perverted bunch – no more so than McMillan’s Baron Harkonnen, who was a levitating, leering sack of pus. Probably wisely, Villeneuve doesn’t try to out-Lynch Lynch here and makes his Harkonnen a more sombre lot, communicating their malevolence through stillness rather than histrionics. Stellan Skarsgard is especially effective as a brooding, Brando-esque Baron.

I read somewhere that Frank Herbert intended the good guys, the Atreides, to be descended from the Greeks on faraway, long-ago earth, although some visual and verbal references to bullfighting in both his book and Villeneuve’s film suggest they’re Spaniards. However, when the Duke, his family and courtiers arrive on Arrakis, the film shows them being led out of their spaceship by a bagpiper… which implies they’re actually Scottish. Well, their home planet’s name is Caladan, which sounds like ‘Caledonia’. One of them is called Duncan and another is called Gurney – Scots gurn a lot. And by half-time they’ve already been slaughtered. So yup, I think they’re Scottish.

One thing I believe makes this version of Dune so good is that, in telling only the book’s first half, it’s a story of tragedy. And tragedy, as any student of Shakespeare will confirm, is one of the most powerful forms of narrative. I suspect Villeneuve will find it harder to make the next instalment of Dune, dealing with how Paul marshals his forces and finally restores order on Arrakis, as gripping. For me, at least, downbeat endings last longer in the imagination than happy ones.

Anyway, for now, after Arrival and Blade Runner 2049, Dune completes a science-fictional hat-trick for Villeneuve. Perhaps it’s not quite as impressive a run as Stanley Kubrick achieved with the sci-fi or sci-fi-related Dr Strangelove (1964), 2001: A Space Odyssey (1968) and A Clockwork Orange (1972), but it’s still pretty amazing. Let’s hope he can knock Dune 2 out of the park and make this triumphant threesome a foursome.