Stephen Mangan as Adrian Mole in a 2001 BBC TV adaptation.
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The best moments from Sue Townsend’s Adrian Mole

The author, who has died at the age of 68, created in Adrian Mole a character who spoke to a generation of teenagers growing up in suburban Britain. Here, we recall a few of his finest moments.

Aged only thirteen and three-quarters when he started his diary, Adrian Mole always had a knack for a turn of phrase, as this early entry from Easter demonstrates:

Poor Jesus, it must have been dead awful for him. I wouldn't have the guts to do it myself.

Part of the reason Townsend’s work spoke to so many nerdy, lonely teenagers was because they identified with Adrian (to a greater or lesser extent):

Now I know I am an intellectual. I saw Malcolm Muggeridge on the television last night, and I understood nearly every word. It all adds up. A bad home, poor diet, not liking punk. I think I will join the library and see what happens.

The sense of isolation, of being cut off from culture, was profound:

I just realised I have never seen a dead body or a real female nipple. This is what comes of living in a cul-de-sac.

We grew up with Adrian. As he progressed, so did we:

I used to be the sort of boy who had sand kicked in his face, now I'm the sort of boy who watches somebody else have it kicked in their face.

His thoughts on sex were always so awkward, yet still compelling:

Read the whole of Sex and Reproduction in bed last night. Woke up to find that a few hundred million sperm had leaked out. Still, it will give the remaining sperm room to wag their tails about a bit.

Pandora was Adrian’s one true love. Not only was she a girl, she was a beautiful girl from an upper middle class family, and he aspired to the book-filled life she lead. Her indifference never ceased to mortify him, as this note after one of her many breaks with him reveals:

Dear Pan,

The sun came out on Wednesday, but it didn't reach into the black despair caused by your separation. It is a cultural desert here. Thank God I have brought my Nevil Shute books.

Yours unto infinity, Adrian X

It’s arguably Adrian’s poetry that is best of all. Here’s a Valentine’s effort for Pandora:

I adore ya.
I implore ye
Don't ignore me.

And when she left him behind to go on a posh holiday with her family:

Oh! My love,
My heart is yearning,
My mouth is dry,
My soul is burning.
You're in Tunisia,
I am here.
Remember me and shed a tear.
Come back tanned and brown and healthy.
You're lucky that your dad is wealthy.

Like many a budding poet, autumn was an inspiration to him:

The trees are stark naked.
Their autumnal clothes
Litter the pavements.
Council sweepers apply fire
Thus creating municipal pyres.
I, Adrian Mole,
Kick them
And burn my Hush Puppies.

Perhaps his best work, though, was this:

Norway! Land of difficult spelling.
Hiding your beauty behind strange vowels.
Land of long nights, short days, and dots over 'O's.
Ruminating majestic reindeers
Tread wearily on ice floes
Ever aware of what happened to the Titanic
One day I will sojourn to your shores
I live in the middle of England
Norway! My soul resides in your watery fiords fyords fiiords

RIP, Sue Townsend.

Caroline Crampton is web editor of the New Statesman.

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On the trail of Keith Jarrett's melodies

Lose focus for a second and you can quickly drop the thread of Jarrett's complex improvisational techniques.

“So, this is a piano,” said Keith Jarrett, sitting down at the one that had been placed centre stage for him in the Royal Festival Hall on 20 November. Blowing on his hands to warm them, he acted as if he had never encountered such an instrument before, raising a chuckle from the hundreds of fans who had turned out to see the man in the flesh. For 40 years, Jarrett has been giving concerts like this – alone with the piano, playing his improvised music to a room full of rapt devotees. Notoriously grumpy – and now as well known for his tirades against cameras and coughing audience members as for his early days playing with Miles Davis – he has an almost eerie focus onstage, relieving the tension only very occasionally with his barbed observations about the excellence of the instrument, or the shuffling in the auditorium.

Jarrett gave us a series of short pieces, each rendering separate and distinctive musical ideas. He began with an intricately woven flash of notes in both hands, criss-crossing the melodies that were by turns dark and haunting, or light and dancing. At particularly complex moments, when his arms were crossed over and the notes were flowing from his fingers faster than anyone could imagine them into existence, he leaned his ear down towards the keys, as if physical closeness could help his ideas more swiftly become sound.

A couple of folk-inflected ballads followed; heart-achingly sweet melodies picked out above rumbling, sour arpeggios. Like Glenn Gould, the Canadian pianist best known for his recordings of Bach’s Goldberg Variations, Jarrett can’t help adding vocalisations as he plays, which are all the more evident in his quieter compositions. He rose and fell from his stool; we heard his guiding hum along with the melody, as well as the odd strangled shout, yelp and grunt. He might insist on absolute silence from the audience but his own noises seem completely uninhibited as the music spins around him.

Although notorious for his curmudgeonly attitude to his fans, Jarrett was mostly restrained in this outing, allowing himself just one short, sweary outburst about killing a “f***ing camera”. At the age of 70 and with the power to sell out his concerts in just a few hours, you do wonder how much of the persona is genuine and how much of it is just giving the audience what it expects. A case in point came near the end, when he yielded to clamouring and gave a surprisingly simple and straightforward rendition of “Danny Boy”, an encore that long-time fans know well.

Given that this recital was under the auspices of the London Jazz Festival, there was surprisingly little in Jarrett’s programme that could easily be identified as jazz. One piece, full of brisk rhythms and chunky chords, gradually revealed itself to be based on a modified 12-bar blues structure and another had haunting overtones surely pulled from the classic American songs of the first half of the 20th century. Indeed, this musical ghosting becomes a major preoccupation when you see Jarrett live. It is too easy to distract yourself in trying to follow the auditory trail he has laid for you – was that a bit of Debussy, or Bach, or Glass just then? – and lose the thread of what he plays next. The improvisational technique might have more in common with jazz but now, 40 years on from his bestselling live recording The Köln Concert, it’s difficult to characterise Jarrett’s output as anything other than contemporary classical music.

If it needs a classification, that is. At one point, I became convinced that a particular piece was a Jarrett riff on Beethoven’s Bagatelle No 25 in A Minor – or Für Elise, as it is more commonly known. I was sure it was all there: the extended opening trill, the rising arpeggios in the left hand, the melody cascading from treble to bass and back again. Except, by the time I surfaced from my musing, there was no trace of Beethoven to be heard. A clashing, almost violent melody was dangling over a long drone in the bass. If you try too hard to pin down Jarrett’s music, it moves on without you.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 26 November 2015 issue of the New Statesman, Terror vs the State