Ian Sansom

Ring Road: There’s no place like home


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former pupil at Central, Tom Boal – stage name, Big Tom Tyrone, even though he wasn’t actually from Tyrone – had obviously enjoyed and remembered the Reverend Mr McAuley’s deep apprehendings and had somehow ended up on the folk circuit in Greenwich Village in the 1960s, singing about longings of his own. Turning to Country, he had recorded several albums in Nashville in the 1970s and he toured occasionally and had returned one year to town, for his mother’s funeral, and had come in to school as a special favour to an old friend, our history teacher, the notorious motorbike-riding and leather-jacket-wearing Gerry Malone, a man who’d been known to do tapes of the Grateful Dead and the Band for favoured boys in the sixth form. Mr Malone introduced Big Tom Tyrone as a contemporary of Bob Dylan and Joan Baez, people we all thought were dead, or hippies, or myths, like the Greeks and the Romans, and certainly it was a surprise for us to meet someone so obviously old and yet so utterly unlike our parents: he might as well have been Odysseus, or Elvis Presley. None of us who were there will ever forget Big Tom Tyrone’s long, thinning hair and his cowboy boots and his acoustic version of Nathan Hatchmore Perkins McAuley’s ‘Fill thou our life, Lord’, which he turned into a sleazy twelve-bar blues with a bottleneck middle section whose effect of longing and moaning came about the closest that most of us had ever heard to the sound of a woman in the act of lovemaking. The school’s headmaster, a Brylcreemed man, a Mr Crawford, the predecessor of the current incumbent, Mr Swallow, was furious and ended assembly early. Girls hung around after the assembly for autographs – some of the better-looking girls too – and Big Tom Tyrone happily signed, in exchange for a kiss, and he must have been in his fifties at the time, I suppose, the age of our own fathers. We couldn’t believe it. Billy and Bob and me had decided by that lunch break that we would form a band. We lasted about six months before we split, suffering from the usual musical differences and the lack of a drummer, and it was then that Billy turned seriously to poetry.

      Billy’s book was being published by a firm who had advertised in the Impartial Recorder, which Billy had foolishly taken to be a recommendation. The Impartial Recorder also carries advertisements for psychics, money trees, life coaches, ‘The Truth about Israel – the Key to World History’ booklets, and ‘Hard-To-Believe-But-It’s-True-We’re-Giving-It-Away-Today-And-Today-Only-Its-An-Unbelievable-And-Unrepeatable-Bargain-But-All-Stock-Must-Go!!!’ furniture stores, cut-price supermarkets and wood flooring specialists. Billy had submitted his work by post, enclosing a small fee, and he had received a letter in reply just a week later, much different from the replies he usually received from publishers: it described his work as ‘original’, ‘extraordinary’ and it went on to use the kind of adjectives which Billy had secretly known for many years might properly be applied to his work, but at which he had blushed on reading and rereading. As well as its obvious literary merits the book, he was told, in the opinion of the publishers, could be a major commercial success. The publishers believed that they could guarantee reviews in national newspapers, magazines and literary journals, and prominent displays in all the major bookshops. Because of the extra distribution and publicity costs that this would involve, they wondered if they could possibly ask Billy to contribute about £1000? Out of this sum Billy would receive two free copies and he had an option to buy another 500 at a greatly reduced rate. The publishers said the initial print run was going to be about 1000: an enormous number for a first book by an unknown author.

      But after the humiliation of the bookless book launch, days turned to weeks and then to months, and there were still no books received, and Billy’s letters and telephone calls went unanswered, and in the end Billy decided he was going to have to go and see his publishers personally. He wore a suit and tie, as for a business meeting, asked for a day’s leave from the dump and took the train.

      The highlight of Frank Gilbey’s inaugural and one-and-only week-long jazz festival, meanwhile, a few years ago, was a performance on the Saturday night by Chris Barber and his band, the keepers of the flame of British trad jazz. No one at all had turned up to hear them play and they went home without even opening their instrument cases. Frank had had to bail out the festival from his own pocket.