In search of feral apples and underground men

My village, just outside Barnsley on the A635, used to supply the workers for lots of coal mines: Darfield Main, Grimethorpe, Houghton Main, Dearne Valley Drift, Goldthorpe, Barnburgh, Cortonwood; names of closed pits ringing like bells.

It’s a Sunday evening in late, late November and I’m just about to walk down through the village with my wife to her mother’s for tea. There will be homemade pies and celery sticks in a jug. I’ve got my thick coat on and my lucky Barnsley FC hat, and I’m carrying my carrier bag and my stick. Actually, it’s not really my stick: it was the one my mother had for the last few years before she died, the one she hung on to in the hope she might walk again.

The sky is clear as we set off and the full and insistent moon lights up the field behind the high wall; the herons are there, four of them sitting on the bare earth like constructions, like toys. We stand and watch them not moving, being still. Behind the field the Grimethorpe bypass is lit by passing cars, and the huge ugly Asos warehouse glows beside the hill that used to be the Houghton Main pit stack.

I’m pointing with my stick at the stars. I wish I knew more about the names of the constellations. Maybe I could just make some up: Uncle Frank’s Cap. The Unravelling Muffler. Somebody did it once, after all. Beyond Asos is the RSPB site, the ducks rising and falling from the water to the air and back again beside the double-glazing place.

My village, just outside Barnsley on the A635, used to supply the workers for lots of coal mines: Darfield Main, Grimethorpe, Houghton Main, Dearne Valley Drift, Goldthorpe, Barnburgh, Cortonwood; names of closed pits ringing like bells. Winding gear and slag heaps were slapped on to landscapes that had hardly changed over decades and miners like my father-in-law walked to work down a bridle path that had been there for centuries.

There was a persistent rumour of a mandrake growing in the swampy patches near the river; “When tha pulls ‘em up they scream!” Jim Marsden said one afternoon as we stood together in the drizzle at the top of the hill listening for sounds of the men working in the mines underneath. Jim insisted that some days you could hear them. “Blokes coughing” he’d say, “and blokes swearing.”

I walk this route every morning at the crack of dawn and I tweet about it; I see the most amazing things and I struggle to squeeze them into 140 characters, like the time I saw that man in a camouflage jacket walk by that man in a hi-vis jacket and as they passed they cancelled each other out.

The owner of the big house put a wall up some time in the last century so that he wouldn’t be able to see men like my father-in-law walking to Houghton Main, and now the workers from Asos stroll that way too, a historical continuation with boots and snap bags. I never found the mandrake but there are three or four plum trees down there, grown from spat stones; the jam glows (metaphorically) at the back of my pantry.

Now we’re at the top of the bridle path and I pull the carrier bag out of my pocket and get my stick ready. This is the reason for the stick – the apple tree by the wall, still full of fruit even this late in the year. Us hunters of the feral apple know what a good year 2013 has been: that mini orchard by the roundabout at Junction 37 of the M1, that huge crop of green beauties across from Tesco’s at Stairfoot near the fossil bank that my kids used to dig in, those heavy cookers that fall to the ground beside the fishing tackle shop in Low Valley.

And these: Yeats’s “silver apples of the moon” hanging just out of reach. Potential crumbles that I poke with my stick until they tumble and I catch them in the carrier. Some are as small as marbles but I’ll take them home anyway. Some roll into the road and a car passes and somebody beeps their horn and gestures to me. It’s either a thumbs-up or a raised pair of fingers. You can’t tell round here, in this Barnsley of the mind where layers of history cover the ground like fallen apples. I’ll just keep poking with my mother’s stick.

 

This season has ssen a bumper crop of British apples. Photo: Nicolo' Minerbi/Luzphoto/Redux

This article first appeared in the 27 November 2013 issue of the New Statesman, The North

Donmar Warehouse
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Limehouse raises the question of when party loyalty becomes political irresponsibility

Labour's “Gang of Four” are brought to life brilliantly at the Donmar Warehouse.

A star of the Labour Party right wing, exiled from the shadow cabinet for deviating from the dominant orthodoxy, rants about how a decent but weak Labour leader, with an election-losing anti-European, anti-nuclear manifesto, risks letting the prime minister get away with whatever she wants.

Laughter shows that the audience gets what the dramatist Steve Waters is up to. Limehouse takes place on 25 January 1981, when a gentle veteran, Michael Foot, seems to be leading Labour to such sure oblivion at the next election that Dr David Owen has summoned his fellow moderates Shirley Williams, Bill Rodgers and (just back from a stint running Europe) Roy Jenkins to Sunday lunch in his kitchen in east London. This meeting led the “Gang of Four”, as they became known, to make a statement of estrangement from Labour that heralded the creation of the Social Democratic Party.

Waters was inspired by a New Statesman interview in which Rodgers wondered if the left-right divide under Jeremy Corbyn might justify a similar evacuation of the pragmatists now. The debates that the play stages – fidelity to party and national tribes against a fear of political and historical irrelevance – feel hotly topical.

Williams, considering an offer to abandon Labour and teach at Harvard, faced then the dilemma of an Ed Balls or Tristram Hunt now. And Labour members today who fantasise about a new progressive grouping might reflect that, while the SDP briefly seemed a plausible alternative to Thatcherism (winning 7.8 million votes at the 1983 election), the middle-class revolution was squeezed externally by two-party domination and internally by disputes over leadership and direction.

But, for all the parallel relevance, the success of Limehouse ultimately depends on the convincing re-creation of an era and its people. Enjoyable period details include the luxury macaroni cheese to a recipe by Delia Smith that Debbie Owen, Delia’s literary agent, chops and fries on stage to fuel her husband’s discussions with his three wary comrades. Waters also skilfully uses the mechanics of a pre-digital world – having to go out for newspapers, going upstairs to answer a phone – to get one character out of the way to allow others to talk about them.

As a good playwright should, Waters votes for each character in turn. Owen, though teased for vanity and temper, is allowed a long speech that honours his status as one of the most memorable orators in modern British politics. Tom Goodman-Hill samples Owen’s confident baritone without going the whole Rory Bremner.

Playing Jenkins, a man celebrated for both a speech defect and rococo cadences, Roger Allam has no choice but to deliver the voice perfectly, which he does. Waters carefully gives the character an early riff about the “crepuscular greyness” of Brussels, allowing Allam to establish the w-sounds and extravagant adjectives. Actor and playwright also challenge the assumption that for Jenkins both to love fine wine and to advocate social justice was inevitably a contradiction.

Debra Gillett refreshingly avoids the scattiness that caricaturists attribute to Williams, stressing instead her large brain and deep soul, in a portrayal that increases the sense of shame that the Tories should lead Labour 2-0 in the score of female prime ministers. As Rodgers (in Beatles terms, the Ringo of the confab four), Paul Chahidi touchingly suggests a politician who knows that he will always be a bag-man but still agonises over whose luggage to carry.

Unfolding over 100 minutes, Polly Findlay’s production has a lovely rhythm, staging the delayed entrances of Jenkins and Williams for maximum impact. Biodramas about the living or recently dead can be hobbled by a need to negotiate objections of tact or fact. Politicians, however, often purchase even the rudest cartoons of themselves for the loo wall, and the real Owen, Williams and Rodgers laughed warmly during, and strongly applauded after, the first night.

At an impromptu press conference afterwards, a genial and generous Owen astutely observed that what at the time was “a very happy day in our house” has been dramatised as tragicomedy. But, regardless of whether Marx was right about history repeating itself the second time as farce, the possibility that farce is being repeated in Labour Party history has encouraged a compelling play that is sublimely enjoyable but also deeply serious – on the question of when loyalty to party can become disloyalty to political responsibility.

“Limehouse” runs until 15 April

Mark Lawson is a journalist and broadcaster, best known for presenting Front Row on Radio 4 for 16 years. He writes a weekly column in the critics section of the New Statesman.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution