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New Statesman​

How not to plagiarise Geoff Dyer

I am close to a complete first draft of a book about England called Anglia, but stare with anxiety at the seemingly convincing and large pile of paper, knowing that lurking in the crisp, regular type is an unviable mix of quite funny jokes and some amazing drunkenly typed rubbish. In order to avoid facing this problem I keep writing more stuff to dilute the terrible stuff. I fear that, in actuality, I am maintaining about the same ratio. The basis for the project was that I could not write a book about Britain from the Middle Ages onwards, as I had for Germany and elsewhere in earlier books, because too much of the story is already well known and so often parodied. I also had to restrict the book to England, as I could only deal with Scotland, Wales and Ireland in such a cursory way as to be offensive. My heart sank at having to write about people like King John. But then I remembered a family story: my mother's grandmother was, as a little girl, present at the hanging of the 'Rugeley Poisoner' in Stafford in 1856. I realised I could start there and make a more detailed book that might have some unexpected information in it. Although flicking through the pile at the moment, an awful lot appears to be about Madame Blavatsky and her circle. County grounds I also thought as a basic writing discipline I should never refer to the royal family, elections or the empire, as these would take up too much space and would make me write filler guff. One further limit was that most of the book should clearly be rooted in specific counties, ideally with two stories from each county to spread the book countrywide, but chucking away some of the smaller bits and bobs (Rutland) to give their votes to London. In any event, with this series of Toytown-Ozymandian arbitrary decisions – an arbitrariness I now see as having deep and lasting roots in English history – I am sitting next to a pile of paper covered with words of variable quality wondering when my life took this wrong turn. Avoiding all Homework I happily had spent some three years writing and researching Anglia, inwardly smiling at some of its little bits of humour, when disaster struck. In May, Geoff Dyer published Homework, his memoir of growing up in England only about five years before I grew up in England. There is no writer I admire more and I felt suddenly that what had been my own rather special England-evoking project was now something like a trodden-on Thunderbird 5 toy facing off against a real-life Death Star. We even both grew up in spa towns and both (I assume) have access to very similar healing-waters jokes. Obviously I could not read Homework. I am drawn into the tractor beam of Dyer's prose style anyway and need to keep well away. And, worse, I saw a headline for a review of Homework that mentioned the word Airfix. I had planned to write about my Airfix model of the Nazi battleship Tirpitz, jokily saying how after hours of flailing effort with knife and glue to stick together my shambolic Tirpitz, it indeed now looked like the real thing, but in the aftermath of the RAF's legendary Operation Catechism. But what if Dyer had made the same joke and I was accused of plagiarism? In order to avoid reading his book I now had to cross out my Operation Catechism joke. The way we Wear Throughout researching Anglia there have been several points where I have found myself having to watch yet again Sunderland on Film, a DVD of documentary clips from the North East Film Archive that span from 1904 to Sunderland's 1973 FA Cup triumph over Leeds. Only an hour long, it has much of the impact of a great realist novel – the faces, clothes, gestures, hard work. The earliest films included as many people on the streets as possible, grinning and waving, as they would subsequently pay to see themselves projected on a screen. A wedding, a grand shop, a skittering horse-and-cart, two men waltzing, Great War commemorations, the Pyrex factory, an astounding scene of men blowing glass to make scientific instruments. The climax of 1973, with all shops shut and the streets empty for the final, had one shop sign stating: 'As a mark of sympathy towards Messrs Bremner, Giles & Company, this shop will be closed at 2pm on Saturday, May 5th.' The editing of the film is sort of a miracle, with shots of the game entangled with crowds watching televisions in shop windows, on a cinema screen, in someone's home, with close-ups of faces distorted and crying with tension. Subscribe to The New Statesman today from only £8.99 per month Subscribe It is probably good that we are largely sheltered from watching such material – it is simply too nihilistic, too raw, too long ago, and the viewer has to sit there knowing that much of what made Sunderland great was about to be swept away. [See also: Is Thomas Skinner the future of the right?] Related