A stethoscope. Photo: Carl Court/Getty Images
Show Hide image

My keyboard is held together by Sellotape. And what’s that strange buzzing in my groin?

Failing hardware and Withnail occupy Nicholas Lezard.

It’s a weird period, the week between Boxing Day and New Year. It’s as if the whole country is wandering around in its pyjamas, muttering to itself. I hunker down in the Hovel behind a barricade of wine bottles; it seems like the wisest course of action.

Company eventually comes in the form of the daughter, who likes to use the Hovel as a launchpad for her return to university. She finds it a convivial place and seems to enjoy my ideas of how to entertain ourselves in the evening. (Though she loves her brothers, they are not given to conversation once settled in front of their screens.) So the first part of Monday evening is spent eating pizza and watching Withnail and I. Normally I am strict about the matter of talking when a film is on but we’ve seen Withnail so many times between us that occasionally we feel moved to comment when we have something we think is interesting to say about it.

There are, I gather, people who not only do not like this film particularly but think that it is a bit odd to have watched it around 50 times. (This is a conservative estimate.) To which I can only reply: would you put a limit on the number of times you would listen to a favourite piece of music? Moreover, although the film may have, to us, reached the condition of music, there are plenty of times in life when it seems directly relevant.

One of them, which I keep quiet about, occurs early when Marwood (this is the name of the “I” character), after a 60-hour speed binge, says: “My thumbs have gone weird.” I have not been on such a binge myself and neither have my thumbs gone weird; but my groin has. The only way I can describe it is that it’s as if someone has left a very tiny mobile phone in the front of my undercrackers and left it on “vibrate” mode, set to go off every three seconds or so.

It is the kind of thing one hesitates to go to the doctor about. Not only is it painless, it’s not entirely unpleasant. But it is not normal; I certainly haven’t read about this in the user’s manual. I am, at the moment, due to illness in the family (and terminal illness at that), becoming rather sensitised to the shocks that flesh is heir to and I wonder if this is the start of something nasty. Then again, the toes on my left foot have been ever so slightly numb for about ten years now. That hasn’t got any better but it hasn’t got any worse.

I suppose I am at the age when the downhill progress starts accelerating. I can see this happening right now on the machine I am using to write this piece. A Lenovo PC of some venerability, it is sort of held together by Sellotape and the keyboard makes a funny, squeaking noise as I type. The built-in mouse has ceased to function, as has the fingerprint reader (a rather snazzy feature that impressed my children when this computer was a new arrival). Somehow I managed to dig out an external mouse from the crap on my desk; only now the cursor seems to skip about after a few hours of use and I will suddenly look to the screen – I’ve never learned to touch-type – and see that I’ve inserted several sentences into the first paragraph, where they do not belong.

Which is all rather tiresome but not unliveable with. After all, the alternative – to get something done about these things, rather than simply to put up with them – does not appeal. One would involve a doctor either putting his or her hand down my pants or telling me to stop wasting his or her time; and the other would involve either buying a new laptop, which is financially beyond me, or replacing the keyboard again. Having had both a new keyboard and a new screen, my laptop now resembles grandfather’s axe, or Theseus’s ship, thus raising the philosophical problem of whether something whose component parts have all been replaced can still be said to be the same thing.

Meanwhile, buzz, buzz goes the groin again, as if a miniaturised submarine full of tiny doctors (including, wondrously, a microscopic Raquel Welch) had got jammed somewhere below the pubic bone. Everything else down there, I hasten to add, is in fine working order. Certainly finer than I might expect of someone of my age and lifestyle. So one does not want to go to the doctor in case one is told that one of the body’s key components needs replacing. Or that one needs an external mouse. Actually, that’s a line of speculation I’m going to close off right now. 

Nicholas Lezard is a literary critic for the Guardian and also writes for the Independent. He writes the Down and Out in London column for the New Statesman.

This article first appeared in the 08 January 2015 issue of the New Statesman, The Churchill Myth

Show Hide image

Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear