Destroying planets

The world’s end was flagged up by the departure of the dolphins in Douglas Adams’ So Long, and Thanks for All the Fish. The dolphins disappear from planet, leaving no more than a note to humanity thanking it for the fish received over the years.  No-one noticed the departure, no-one saw it as an omen of trouble until it was too late.

In Doctor Who, it was not the dolphins that disappeared, but the bumble bees, foreshadowing the coming of the Darkness but not noticed until the moment when there might have been time for reflection was past.

Those who remember Douglas Adams’ The Hitchhiker’s Guide to the Galaxy may remember the demolition of the Earth to make way for a new road.

”People of Earth, your attention please,” a voice said, and it was wonderful. Wonderful perfect quadrophonic sound with distortion levels so low as to make a brave man weep.

”This is Prostetnic Vogon Jeltz of the Galactic Hyperspace Planning Council,” the voice continued. ”As you will no doubt be aware, the plans for development of the outlying regions of the Galaxy require the building of a hyperspatial express route through your star system, and regrettably your planet is one of those scheduled for demolition. The process will take slightly lessthat two of your Earth minutes. Thank you.”

The PA died away.

Uncomprehending terror settled on the watching people of Earth. The terror moved slowly through the gathered crowds as if they were iron fillings on a sheet of board and a magnet was moving beneath them. Panic sprouted again, desperate fleeing panic, but there was nowhere to flee to.

Observing this, the Vogons turned on their PA again. It said:

”There’s no point in acting all surprised about it. All the planning charts and demolition orders have been on display in your local planning department on Alpha Centauri for fifty of your Earth years, so you’ve had plenty of time to lodge any formal complaint and it’s far too late to start making a fuss about it now.”

The PA fell silent again and its echo drifted off across the land. The huge ships turned slowly in the sky with easy power. On the underside of each a hatchway opened, an empty black space.

By this time somebody somewhere must have manned a radio transmitter, located a wavelength and broadcasted a message back to the Vogon ships, to plead on behalf of the planet. Nobody ever heard what they said, they only heard the reply. The PA slammed back into life again. The voice was annoyed. It said:

”What do you mean you’ve never been to Alpha Centauri? For heaven’s sake mankind, it’s only four light years away you know. I’m sorry, but if you can’t be bothered to take an interest in local affairs that’s your own lookout.

The story of the deflection of an asteroid by NASA seemed the sort of incident that could have come from an Adams’ plot.

Somewhere out in deep space, a planet could be hit by an asteroid that would have passed by harmlessly if it had not been deflected by a probe from Earth.

 

 

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A cartographic failure

The chief memory from the geography that I learned at High Ham Primary School is the time when I turned the country around.

In those times when making photocopies was a rare phenomenon confined to large institutions where xerox machines could reproduce cloudy images, tracing paper was the way to transfer an image from one place to another.

The class was given the task of reproducing a map of Britain in their exercise books. This required placing a sheet of tracing paper on the relevant page of a school atlas and holding it firmly in place while following the outline with a pencil. Once the map had been traced, the paper was turned over and, using the side of the lead, we scribbled over the line we had drawn. We then placed the tracing the right way up on a page of the exercise book and drew along the lines we had drawn. The lines scribbled on the reverse allowed enough lead to be on the paper for the lines to appear on the blank page.

It was a very simple process, except when you scribbled on the same side as you had traced and then turned the paper over to draw the line from the reverse side – a process that led to Wales and Cornwall being to the east of the country and East Anglia and Kent facing westward.

Perhaps it was an omen that geography would not be a strong subject, for the only other fact that I can recall from those days is that our part of Somerset was in a “rain shadow”, the upland areas to the west and south-west of the county received a lot of relief rainfall, meaning that there were only thirty inches of rain each year in the heart of the county.

Going to school on Dartmoor, where the annual rainfall was sixty inches a year or more brought an appreciation of how relatively rain-free our area was.

Rain-shadowed, it might be; dry, it is not. The autumn storms each year bring rain that arrives sideways. Autumn and winter on the Levels might be mild compared with the seasons elsewhere, but they are marked by a pervasive dampness.

People who lived on the moors in times before there was the option of central heating and dehumidifiers would talk about there being a year round moisture in their walls, about the damp being in everything.

The pervasive nature of dampness would have been a useful lesson in geography.

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Not cool enough to dance

The rugby match kicks off at five o’clock on Saturday afternoon and will be over by seven o’clock, which means there is plenty of time to get to the gig – if I have the courage to go.

It is a band from the 1970s where the fans will dress in a particular way, and that inspires fear.

In the 1970s, there weren’t many things that inspired fear.

Going to football matches, where full scale fights between rival groups of fans might involve dozens or hundreds of young men,  was never a worry. All you had to do was to stand to one side, watch the game and no-one took any notice of you: it was easy to be invisible.

Attending rock concerts never prompted a moment’s hesitation, people went for music, not hassle. The only hostility would be towards police officers charged with the thankless task of searching likely suspects for cannabis.

People dressed to dance for particular music was a prospect far more threatening than a fight between rival groups of football fans, or a gang of bikers gathered for a heavy metal gig.

I’m never quite sure, but the dance goers always seemed much more cosmopolitan, much more sophisticated. I always avoided such company and I would never have had the confidence to set foot in the clubs. I always had the wrong clothes, anyway.

Far better to encounter a greaser looking like an extra from the cast of Easy Rider, with big boots and studded leathers, than to encounter one of the in-crowd.

There are still radio programme presenters who have the capcity to reawake that sense of being intimidated.  They are the ones who speak with their own patter, their own language, their own vocabulary.  It was a language which would have excluded people like me in those far off years, they are those who play music that would have filled 1970s dance floors lit by glittering lights.

Such fear is entirely illogical.

The people who went to the sort of places that scared me weren’t particularly cosmopolitan or sophisticated; they were just people who would have spent their money on clothes and looked forward to the weekends, dressing up and enjoying nights out.  They were not aggressive, they were not violent, they were hardly dressed for a fight, anyway.  The venues they attended were often policed by bouncers at the door.

So why should the prospect of going to listen to dance music cause discomfort? Perhaps it is that most primeval of all fears, the fear of the unknown.

 

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Pinch, punch, the first of the month

The first day of the month.

Do people in primary school in England still go up to friends, pinch them on the arm and then give them a punch on the arm, and not always a friendly one, while saying, “Pinch, punch, the first of the month, white rabbits and no return?”

Such was the custom in 1960s Somerset, a custom that no-one thought unreasonable. The “no return” meant one was honour bound not to retaliate.

Where did we learn such nonsense?

An Internet search offered one explanation that says that the “pinch, punch” bit was supposed to come from times when people believed in witches and thought a pinch of salt, followed by physical force, would repel them.

Another explanation offered says that George Washington would meet with Native Americans on the first day of the month and offer them fruit punch flavoured with salt.

To be honest, neither explanation sounds convincing and no-one seems certain about the saying’s origins. Perhaps it is an amalgam of sayings, each with a source that has long since been lost.

What seems odd, more than five decades on from those early school days, is that we uncritically accepted stuff that was patent nonsense. It is hard to imagine that children in 2022 would believe someone could reasonably walk up to them and pinch them and punch them and then remove any cause for complaint by saying “white rabbits and no return”.

Perhaps it is that children are far more educated about what is and what is not acceptable, perhaps it is because within seconds of someone saying something it might be verified or falsified by Google. Perhaps it is because children now are smarter than we were in the 1960s.

The idea that kids today might be smarter came from a conversation some years ago with a pair of sisters, who were then both in their late 80s and who both graduated from Trinity College, Dublin in the early 1940s:

“Did you catch the train to Harcourt Street?”

“No, I don’t think we ever used that line. We used to get the train to Westland Row. I hated the train, it was smelly and dirty and you got soot on your clothes. Not that we were as bright as the young people now”.

“But you’re both graduates”.

“Yes, but that was in old subjects, you just learned dry stuff. The young people now have to think much more”.

“The young people have to think much more?”  Maybe not, but they don’t believe rubbish like “pinch, punch, first of the month.”

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A random win

The Prix de  l’Arc de Triomphe will be run next Sunday.

One Sunday in October, perhaps thirty years ago, I won money on that race.

My gambling habit ran to £1 a week, my neighbour used to collect people’s football pools and I started spending 50p a week on the pools and 50p a week on a bet.

“The Arc” was due to be run on the Sunday and on the Friday afternoon I picked out a horse from a good stable that I thought it might do well; it came eighth.

The following Friday, my neighbour called.  “I have your winnings from Sunday”.

This was slightly baffling, I had heard of races where bookmakers paid out down to fourth place, but none would survive if they paid out money on horses coming eighth.

“Are you sure that’s mine?  My horse came nowhere”.

“You didn’t take ante-post odds”, he replied, “if you took the starting price then the French rules applied.  It means your horse was coupled with another horse from the same stable.  The stable companion won.  If your horse had won you would have been cross because you wouldn’t have got the full odds on it; as they were coupled together, the odds were only 8-1.  Anyway, here’s your £4.50”.

In retrospect, there seemed a sermon in the story, except, of course, one couldn’t really use betting on horses as a sermon illustration.  There was potential for using it as a story of unlikely winners; of unexpected people sharing in the bounty; of there being more than one chance in life.  It could serve as an illustration about making the wrong assumptions about outcomes.

Perhaps it might also serve in making a point that nothing is pre-determined; that in a topsy-turvy world, to come eighth may be to win.

Tom Stoppard’s Rosencrantz and Guildernstern are Dead follows the line of Samuel Beckett’s Waiting for Godot in presenting life as something beyond the shaping of an individual:

ROSENCRANTZ:   We’ve nothing wrong! We didn’t harm anyone. Did we?
GUILDENSTERN: I can’t remember.
(ROS pulls himself together.)
ROS:  All  right, then. I  don’t care. I’ve had enough. To tell you the truth, I’m relieved.
(And he disappears from view.)
(GUIL does not notice.)
GUIL: Our  names  shouted  in  a certain  dawn  …  a  message  …  a summons… there must have been  a moment,  at the beginning, where we could have said-no. But somehow we missed it.
(He looks round and sees he is alone.)
Rosen–?
Guil–?
(He gathers himself.)
Well, we’ll know better next time. Now you see me, now you –
(And disappears.)

The English tutor at Strode College would recite the words with passion, “Our  names  shouted  in  a certain  dawn  …  a  message  …  a summons”

It was hard to know what he was thinking at times: was he making a point about individual freedom, that there was no reason why they should accept their fate, or was he protesting about life being controlled by forces beyond our control?

In a world where one can win on a horse that came eighth, nothing is pre-determined.  Perhaps there are unseen rules shaping lives, but if one does not know those rules, and if they are open to arbitrary and sudden change, then any outcome might be possible.

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