Norman Mackenzie: Editor, teacher, writer . . . spy?

Remembering the former NS staffer, who died on 18 June.

At Sussex in the 1960s, the historian Asa Briggs – who is still going strong in his 93rd year – recruited a motley crew of maverick dons. Their brains and personalities secured his new university’s reputation as an interesting place to be.

The art historian Quentin Bell, for example, sealed a lasting connection between Bloomsbury and the university. The publisher Peter Calvocoressi, like Briggs a veteran of Bletchley Park, was recruited to teach international relations. Neither would have mentioned Hut 3 outside Briggs’s office and yet another unorthodox recruit had connections with the security services that few colleagues could have suspected. Norman Mackenzie, the former New Statesman staffer who died on 18 June, no doubt boasted a file in MI5’s archives – but as suspect or agent?

Briggs considered Norman’s 20 years as Kingsley Martin’s assistant editor a suitable apprenticeship for teaching politics. Norman retained close links with the NS and became an authority on the paper’s founders, Beatrice and Sidney Webb. In the great Fabian tradition of marital and intellectual partnerships – the Webbs, the Hammonds, the Coles – he and his first wife, Jeanne, wrote a fascinating group portrait of the worthiest progressives in late-Victorian London. They followed up their biography of H G Wells with a history of the early Fabian Society, after which they began editing three volumes of the Webbs’ letters and four of Beatrice’s diaries.

The Mackenzies took pride in their monumental act of scholarship and praised Norman’s secretary as the one person able to decipher Beatrice Webb’s scrawl. Regrettably, I can’t recall this woman’s name but I can remember that her regular job was supporting the now Professor Mackenzie in his role as director of the School of Education.

Norman oversaw teacher training at Sussex for a decade and his appointment was a shrewd move by Briggs. Sussex operated a model ahead of its time, with postgraduate teacher trainees spending four days a week in school and one back on campus. The director adopted a hands-off approach to all matters vocational, leaving his suitably qualified staff to get on with supervising their students and conducting classroombased research.

Norman’s role, given his long-standing interest in education policy, was to advise the Labour government and, in particular, the then education minister, Shirley Williams. After the Conservatives’ victory in the 1979 general election, his Whitehall days were over and he spent more time in his office. That office was where I had spent much of the previous year working on my doctoral thesis. Norman was extraordinarily generous and supportive as I researched the history of the fledgling NS, mischievously planting ideas (“Go to Kew and see if Clifford Sharp was a spy” – like he was, perhaps?) and allowing me open access to the Webbs’ transcribed correspondence.

He was great company and my one regret is that I was so preoccupied with the paper’s early editors that I didn’t ask more about his own experiences. For example, now that I know that he trained at Osterley Park with George Orwell in late 1940, I wonder how seriously he took Tom Wintringham’s vision of the Home Guard as a revolutionary people’s militia.

At the start of 1980, Norman offered himself as the external examiner for my PhD and it was a sign of the times that nobody suggested a conflict of interest. The night before the viva,my interrogator telephoned to say that the thesis was fine so I should relax and enjoy the day, at the end of which he would provide the celebratory champagne – again, a scenario inconceivable today but a measure of the man.

In the magazine's leader the week after Norman Mackenzie's death, editor Jason Cowley wrote:

Norman Mackenzie, who has died aged 91, joined the New Statesman as assistant editor in 1943, having been recommended to the then editor, Kingsley Martin, by Harold Laski at the LSE. Norman worked on the paper for nearly 20 years before becoming an academic at Sussex University. He helped found the Open University, edited the diaries of Beatrice Webb and was the author of biographies of Charles Dickens and H G Wells. His political journey from the Independent Labour Party and the Communist Party to Labour and then the Social Democratic Party was complex and fascinating.

I got to know him only at the end of his life, when he was in poor health and knew he had a few months to live. I found him lucid, witty, acerbic and generous in his advice and guidance. He told me he stopped reading the NS when it embraced what he called the “silly left”. He had recently become a subscriber again: “It’s like coming back to the place after 30 years away to find someone has been polishing the doorknobs.”

Norman lived to read the centenary issue and kindly sent the editorial team a congratulatory card: “Was there ever such a progressive magazine!”

He was a last, cherished link with the old world of Orwell’s London and Kingsley Martin’s NS. His friend the historian Hugh Purcell said: “He died in the morning, having said to Gill [his wife], ‘Death is a swindle if a man cannot have a whisky in his hand.’”

Norman Mackenzie.

This article first appeared in the 01 July 2013 issue of the New Statesman, Brazil erupts

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Will they, won't they: Freya’s ambivalent relationship with plot

Like the heroine, the narrative feels becalmed and slightly wrong-footed in Anthony Quinn’s Freya.

Freya is a portrait of a young woman in her time (post-Second World War through to the 1950s), place (London and Oxford) and social class (upper middle). Her father is an artist, Stephen Wyley, one of the principal characters in Anthony Quinn’s last novel, Curtain Call, which was set in 1936. We meet Freya on VE Day, assessing her own reflection: dressed in her Wren uniform, leggy, a little flat-chested, hollow-cheeked, with a “wilful” set to her mouth. And even though her consciousness is the constant centre of this novel, the feeling that we are standing outside her and looking in is never quite shaken. Quinn invests intensively in the details of the character’s life – the food and drink, the brand names and the fabrics, the music and the books around her – but he can’t always make her behave plausibly in the service of the story.

In fact, the novel has an altogether ambivalent relationship with plot. For the first two-thirds of the book there’s not that much of it. Freya is one of those young women for whom peacetime brought a tedious reversion to the mean expectations for her sex. When she goes up to Oxford, she realises that, despite her accomplishments in the navy, “she was just a skirt with a library book”. Like the heroine, the narrative feels becalmed and slightly wrong-footed. Quinn makes heavy use of elision – telling us that something is about to happen and then jumping to the aftermath – which would be an effective way to suggest Freya’s frustration, if it weren’t so schematic.

Granted, it’s preferable to dodge the obvious than to have it hammered home, but at times Quinn can be remarkably unsubtle. When a character mentions a fictional writer, he glosses this immediately afterwards, explaining: “He had named a famous man of letters from the early part of the century.” Presumably this clunking line has been inserted for fear that we readers won’t be able to draw the necessary conclusions for ourselves, but it’s superfluous and it jars. Quinn also has his characters make self-conscious asides about literature. Arch observations such as “The writer should perform a kind of disappearing act” and “It’s unfathomable to me how someone who’s read Middlemarch could behave this way” make me wonder whether students of physics might not have more intriguing inner lives than those studying English literature.

And then there is Freya’s sexuality, which is set up as the animating mystery of the novel, but is laid out quite clearly before we’re a dozen pages in. She meets Nancy Holdaway during the VE celebrations and the attraction is instant, though also unspeakable (a critical plot point hinges on the repression of homosexuality in 1950s Britain). The will-they-won’t-they dance extends through the book, but it’s hard going waiting for the characters to acknow­ledge something that is perfectly obvious to the reader for several hundred pages. It’s not as if Freya is a fretful naif, either. She takes sexual opportunity at an easy clip, and we learn later that she had flirtations with women during the war. Why become coy in this one instance?

Nor is she otherwise a reserved or taciturn character. Forging a career in journalism as a woman demands that she battle at every step, whether she would like to or not. “But I don’t want to fight,” she says, later on in the narrative, “I only want to be given the same.” However, she rarely backs away from confrontation. At times her tenacity is inexplicable. In one scene, she is about to pull off a decisive bargain with a figure from the underworld when she defies the middleman’s warnings and launches into a denunciation of her criminal companion’s morals, inevitably trashing the deal. It’s hard to swallow, and makes it harder still to imagine her keeping her counsel about the great love of her life.

When the plot at last springs to life, in the final third, there is almost too much to get through. Quinn introduces several new characters and a whole mystery element, all in the last 150 pages, with the romance still to be resolved besides. After the languorous pace so far, it’s an abrupt and not quite successful switch. Quinn hasn’t got the Sarah Waters trick of mixing sexual repression with a potboiling historical plot, nor Waters’s gift for scenes of disarming literary filth. (Freya announcing that “she finger-fucked me till I came” is unlikely to join ­Fingersmith’s “You pearl!” in the fantasy lives of the bookish.) Freya is a novel about intimacy and honesty, where telling the truth is paramount; but it doesn’t seem to know its own heroine well enough to bring us truly close to her.

Sarah Ditum is a journalist who writes regularly for the Guardian, New Statesman and others. Her website is here.

This article first appeared in the 28 April 2016 issue of the New Statesman, The new fascism