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

Getty
Show Hide image

We knew we’d become proper pop stars when we got a car like George Michael’s

“That was George Michael!” we both shouted. “And he was driving the car we want!”

One of the clichés about celebrity life is that all celebrities know each other. Back in the Eighties, when we were moderately famous, Ben and I did often bump into other famous people, and because of mutual recognition, there was a sort of acquaintance, if not friendship.

There was a random element to it, as well. Some celebrities you might never catch a glimpse of, while others seemed to pop up with an unexpected regularity.

In 1987, the car we drove was a 1970s Austin Princess, all leather seats and walnut dashboard. In many ways, it symbolised what people thought of as the basic qualities of our band: unassuming, a little bit quirky, a little bit vintage. We’d had it for a year or so, but Ben was running out of patience. It had a habit of letting us down at inconvenient moments – for instance, at the top of the long, steep climbs that you encounter when driving through Italy, which we had just recklessly done for a holiday. The car was such a novelty out there that it attracted crowds whenever we parked. They would gather round, nodding appreciatively, stroking the bonnet and murmuring, “Bella macchina . . .”

Having recently banked a couple of royalty cheques, Ben was thinking of a complete change of style – a rock’n’roll, grand-gesture kind of car.

“I wanna get an old Mercedes 300 SL,” he said to me.

“What’s one of those?”

“I’ll let you know next time we pass one,” he said.

We were driving through London in the Princess, and as we swung round into Sloane Square, Ben called out, “There’s one, look, coming up on the inside now!” I looked round at this vision of gleaming steel and chrome, gliding along effortlessly beside us, and at the same moment the driver glanced over towards our funny little car. We made eye contact, then the Merc roared away. It was George Michael.

“That was George Michael!” we both shouted. “And he was driving the car we want!”

We’d always had a soft spot for George, even though we seemed to inhabit opposite ends of the pop spectrum. He’d once been on a TV review show and said nice things about our first album, and I knew he had liked my solo single “Plain Sailing”. We’d done a miners’ benefit gig where Wham! had appeared, slightly out of place in their vests, tans and blond bouffants. There had been a bit of sneering because they’d mimed. But I remember thinking, “Good on you for even being here.” Their presence showed that being politically active, or even just caring, wasn’t the sole preserve of righteous indie groups.

A couple of weeks later, we were driving along again in the Princess, when who should pull up beside us in traffic? George again. He wound down his window, and so did we. He was charming and called across to say that, yes, he had recognised us the other day in Sloane Square. He went on to complain that BBC Radio 1 wouldn’t play his new single “because it was too crude”. “What’s it called?” asked Ben. “ ‘I Want Your Sex’!” he shouted, and roared away again, leaving us laughing.

We’d made up our minds by now, and so we went down to the showroom, flashed the cash, bought the pop-star car and spent the next few weeks driving our parents up and down the motorway with the roof off. It was amazing: even I had to admit that it was a thrill to be speeding along in such a machine.

A little time passed. We were happy with our glamorous new purchase, when one day we were driving down the M1 and, yes, you’ve guessed it, in the rear-view mirror Ben saw the familiar shape coming up behind. “Bloody hell, it’s George Michael again. I think he must be stalking us.”

George pulled out into the lane alongside and slowed down as he drew level with us. We wound down the windows. He gave the car a long look, up and down, smiled that smile and said, “That’s a bit more like it.” Then he sped away from us for the last time.

Cheers, George. You were friendly, and generous, and kind, and you were good at being a pop star.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 12 January 2017 issue of the New Statesman, Putin's revenge