Author: Daniel

  • Politics is the Enemy of Art

    Politics is the Enemy of Art

    Ammonite (2020) | Happiest Season (2020) | Gentleman Jack S01

    Ammonite: UK 2020
    Directed by Francis Lee; starring Kate Winslet, Saoirse Ronan, Fiona Shaw…

    Happiest Season: USA 2020 (Apple TV+)
    Directed by Clea DuVall; starring Kristen Stewart, Mackenzie Davis, Mary Steenburgen, Victor Garber, Dan Levy, Aubrey Plaza…

    Gentleman Jack S01
    Created by Sally Wainwright; starring Suranne Jones, Sophie Rundle…

    T’is the season for big holiday movies and by coincidence, or because it’s 2020 and the industry’s only a decade behind, two of this year’s biggest are lesbian themed romances. Ammonite is a period biography and gloomy art film while Happiest Season is a frothy romcom. Unfortunately, neither is very good.

    NOTE: MAJOR SPOILERS AHEAD FOR AMMONITE AND SOME MILD ONES FOR HAPPIEST SEASON.

    Ammonite (UK 2020)

    Ammonite focusses on the relationship between two actual, 19th Century women. Mary Anning (Winslet) was a pioneering scientist who made ground-breaking discoveries of sea fossils, and Charlotte Murchison (Ronan) was a wealthy friend and supporter. There’s no evidence the two were ever more than friends, but the film weaves a fictional romance around the known details of their lives.

    As the story opens, Winslet’s Mary is a gloomy drudge, driven by scientific fervour to scour the cold, wet, dangerous, and wind-swept beaches and cliffs of Dorset. Denied admittance to the Geological Society because of her gender, she lives with her mother (also seeming to labour under some unspecified tragedy) and makes a scant living selling fossil specimens in her shop.

    Almost completely dialogue-free, these scenes rely on a portentous visual style — all cold colours and rough textures to set the mood. There are a lot of lingering close-ups of rough female hands scrubbing things, muddy boots scuffing on rough wood floors, dirty brushes scraping fossils clean, and heavily clothed female bodies bent over in back breaking labour. To make up for the lack of spoken language, the ambient sound is cranked up whenever anything gritty or scratchy is happening (that is, most of the time).

    Everything the movie shows us of the 19th Century makes the point that it was a hard, depressing time, especially for women, who do all the hard work. And, befitting the subject, we’re clearly meant to understand that this is a Very Important Film.

    Ronan & Winslett

    Ronan’s Charlotte Murchison turns up when her gormless husband visits Mary. He’s an amateur palaeontologist seeking to study with the renowned lady scientist. He’s a rich idiot, but the gloomy Mary needs the money and so lets him tag along on a few beach walks. By the time he’s ready to leave for a scientific holiday on the continent, Charlotte is too sick to travel and gets left behind. In truth, she’s not so much ill as despairing in the wake of a miscarriage. When the prescribed medicine of sea air (on the stormy beach) and bathing in the (freezing) sea water almost kills her, she ends up in the care of the reluctant Mary.

    At first the two brusque and silent women barely tolerate one another. As Charlotte recovers, though, she begins to walk the shore with Mary and help with the fossil hunting – either from boredom or because of some previously undetected scientific interest. Soon the two are working together to shift obstacles too big for one of them (metaphor alert!) and giving each other significant glances.

    Still, it’s a surprise when this silent companionship erupts into a passionate physical affair. Perhaps the movie’s point is that forbidden love is the only way Mary and Charlotte can burst free of the personal tragedies and gender restrictions oppressing them. I might not be the best guy to judge here (the operative word being “guy”) but, given that their relationship has so far consisted of little more than soulful stares, this sudden transformation into lovers feels artificial and un-earned. Of course, hoity-toity “Art” films resort to unearned plot developments like this all the time, and routinely seem to get away with lazy storytelling that would be roundly (and rightly) criticized in a more commercial film.

    Given Ammonite’s emphasis on the period’s sexual conformity and subordination of women, it’s also remarkable how quickly and without hesitation Mary and Charlotte jump into bed together. It would help if we knew something of their inner lives, but the slow unveiling of past tragedies has been the movie’s main form of character development. In consequence, they remain more feminine archetypes or symbolic representations than actual living, breathing individuals whose motivations we can understand (we never really hear a conversation between them, for example).

    Charlotte’s husband eventually returns from his travels and summons her home, seeming to end the affair as abruptly as it began. Ammonite makes a time jump, though, for an epilogue’s worth of additional unearned plot developments that open the possibility for an ongoing connection. That this scene begins with a misunderstanding between Mary and Charlotte is a useful reminder of how little these supposed lovers know of each other (or us of them). Typically, Ammonite then abandons literal storytelling for a resolution that has our two leads sharing a lingering glance while the camera focusses on a display of fossils between them that seems highly symbolic of… something.

    All this is great fodder for English Lit Majors who can research Ammonites and write tedious essays about how such and such a fossil (metaphor alert, again!) symbolically maps our characters’ inner worlds. I’m old-fashioned enough, though, to still think a story consists of believable characters taking actions based on inner motivations and external events, and that without such a realistic foundation it can’t bear the weight of a metaphorical layer. For all its pretensions, Ammonite is just a slog.

    Happiest Season (USA 2020)

    Although its tone and setting are very different, Happiest Season also craps out of the hard work of character building in favour of delivering A Very Important Message.

    The scene opens on a date night between Kristen Stewart’s Abby and Mackenzie Davis’s Harper. It’s supposed to be our introduction to them as a happy couple, but all we get are a few cutesy quirks. Then the action kicks off with a road trip to visit Harper’s waspish family for the holidays.

    Stewart & Davies

    En route Harper confesses that she hasn’t come out to them yet. Not good as the two have been living in a long-term relationship for some time. Worse, she asks Abby to pretend to be just her roommate during the visit, so as not to disrupt the festivities.

    All this is treated as a set up for romcom hijinks (we’re told that Abby is famously bad at lying). And Stewart does play the hapless Abby’s awkwardness with a deft, comic lightness. She is, indeed, bad at keeping secrets.

    But the comic tone is soon out of step with an increasingly toxic situation. The sweet Abby suffers a series of humiliations as the family leaves “the roommate” out of important events and teases Harper publicly about the availability of various male suitors. Again and again Harper is given a chance to do the right thing, only to respond with serial cowardice.

    It’s soon evident that Harper’s family is more than just a little uptight and repressed. In support of the father’s political ambitions, they have all — for many dysfunctional years — been forced to present an impossibly perfect image of conformity and respectability to the world. Such relentless hypocrisy has not only made Harper a moral coward but left both her sisters badly damaged.

    From romcom froth we’re suddenly in a deadly serious “issues” movie (that would have felt timely in the 1990’s). The setting is small town U.S.A., so I suppose it’s just possible that a sophisticated, well-educated, upper middle-class family could be as uptight and oblivious as this one. But there are problems beyond the jarring changes in tone.

    We’ve seen so little of their relationship that it’s a mystery why Abby would stay loyal to the awful Harper. Aside from the fact that they’re mega-cute together (Stewart and Davis do have great chemistry), why are they a couple? What are their common interests? Are there temperaments or beliefs compatible? What do they talk about when they’re alone? We have no idea. In a reversal of the “show don’t tell” rule of moviemaking, we’re expected to believe they’re in love because they say it so often.

    Worse, having got very serious about how cowardly and dysfunctional Harper’s upbringing has made her, the movie fails to deal in any serious way with the issues raised. Instead, after briefly descending into misery porn, Happiest Season switches back to romcom mode. Several characters experience sudden personality transplants that (literally overnight) produce the understanding and growth required to resolve all their conflicts. It’s the kind of magical character growth – driven by the requirements of the plot – that Roger Ebert used to rail against. (He’s right; it’s the laziest kind of writing.)

    Unlike Ammonite, there are at least some sparks of wit and fun to be had here – usually at the hands of the secondary characters. Dan Levy is amusing as the clichéd gay best friend. And Aubrey Plaza is terrific — both funny and relatable — as Harper’s secret home-town ex, whom Abby is alternately threatened and charmed by.

    The Art of Storytelling

    The main impression left by these movies, though, is how lazy both are. They seem to think a progressive social message is merit enough to skip the hard work of crafting a real story or relatable characters. (Christmas music is dreadful for a similar reason.)

    The problem being that positive messages, or good intentions, have nothing to do with artistic merit. Whether it’s a novel, painting, sculpture, a movie, a work of art is a view into our shared existence, captured by the artist and shaped into a manufactured object. When we experience that work we have the opportunity to become participants in the creative act. The more actively we engage with it, the more fully we bring our own thoughts and experiences to bear, and the richer the combination of our perceptions and the artist’s vision becomes. This shared creation then reflects back on our own lives – a fresh perspective on who we are ourselves. The relevance, honesty, and urgency of this experience is the real measure of art (how “good” it is).

    For narrative art, the manufactured object is a story, and stories draw us in by creating sympathetic, believable characters. These may be perky millennials, noir detectives, space bounty hunters, or… Victorian ladies. It matters not; if they’re psychologically realistic and interesting – if they’re believable people — they’ll stir a twitch of recognition within us, an empathetic response to their plight. When our fictional heroes navigate their experiences with recognizable emotions and dialogue, when they overcome obstacles through believable, organic growth, and when they confront their nemesis with only their own wits and resources, then their experiences resonate with the arcs of our own life. By imaginatively participating in their story, we find fellow travellers on our own journey.

    The plots of real stories are moved by characters taking action based on believable motivations. No matter how outlandish the setting (space cowboys or kitchen sink drama) we relate to such organic story development because the people in it are believable and relatable. A well-told story is an utterly immersive visit to an invented world that lives in our imagination as an actual place populated by real people.

    When these characters overcome burdens like to our own, we feel less alone. When they show the common humanity we share, they remind us that the human condition is universal. And when, through imaginative participation in the story, we meet people, see places, and have experiences beyond our everyday existence, our lives grow larger.

    Stories don’t gain this power through well-reasoned arguments. And their insights into the human condition don’t come from logical analysis. Any power they have — any truth they tell — comes from their verisimilitude to living reality and the immersion that creates. The spell is broken as soon as a story gives its characters magical personality changes or using unearned and unbelievable plot developments to demonstrate the author’s political point of view. As soon as that happens, we know the tale is fake, that it has no connection to life as it’s actually lived. And why would we care about a fake story?

    Politics is, indeed, the enemy of art.

    Gentleman Jack

    Rather than head into Christmas on a negative note, or imply that a romcon can’t be both progressive and good, I’ll end with a mention of Gentleman Jack. This is an HBO series from 2019 that also features an historical figure.

    Anne Lister was a wealthy 19th Century gentlewoman who owned and managed a farming estate in Yorkshire. Unlike Mary Anning she actually was a lesbian in a time when this had to be kept very secret. This aspect of her life was only uncovered recently when the encoded pages of her voluminous diaries were decrypted.

    The series picks up in 1832 with Lister (as everyone calls her) returning from travels abroad, determined to revive the fortunes of the family estate after a series of “scrapes” — failed affairs with various women who lacked the courage join her in an unconventional life. Soon, she’s collecting rents, firing tenants, and looking to sink a coal pit (it’s a rare treat to see what 19th Century aristocrats actually did all day!). If that wasn’t enough, she becomes distracted by meeting Ann Walker, a wealthy but retiring young neighbour (also an actual person).

    When Lister decides to pursue Ann, we’re treated to an intimate, fly-on-the-wall view of the two getting to know and like one another. Unlike so many screen depictions of love, this one doesn’t cut away when the talking starts. Lister is an intelligent, lively polymath who has used her privileged status to get away with a metric tonne of eccentric behaviour (travelling, pursuing a scientific education, dressing in masculine clothing…) It’s easy to see why Miss Walker is captivated by her energy and charisma. And we also see that it is Miss Walker’s very decency and kindness that has made her a virtual prisoner of her avaricious family. She has lived a life of quiet desperation, but in Lister’s company she comes alive, showing a heretofore hidden wit and spirit. When Lister’s intended casual affair turns into something more for both of them, it’s easy to see why.

    Gentleman Jack’s eight episodes (each an hour) provide plenty of room for this relationship to breathe and grow. But the series’ other great virtue is its full and sympathetic portrait of life in 19th Century Yorkshire. Lister’s servants, tenant farmers, and professional associates are all as vividly drawn as the main characters. Many of them have ambitions and story arcs of their own — in utter contrast to Ammonite’s cramped view of the period, which leaves out anything not in accord with its social agenda.

    Even the repressive sexual mores of the time are shown with nuance and complexity. Some society doyens are all too ready to spread malicious gossip about what Lister and Miss Walker might be getting up to. But our couple also have friends, relatives, and acquaintances who genuinely like them and are loyal enough to look the other way (even some who may guess at more than they let on).

    The darker side of the 19th Century isn’t sugar-coated, and provides plenty of obstacles, both personal and professional, for our lovers. This being Gentleman Jack, you can be sure there’ll be no magic personality transplants or unearned plot twists to smooth their way. They will have to struggle, learn from their mistakes, grow, and be brave if they are to find happiness together — just like real life! No spoilers as to how that turns out; it’s a story you should watch for yourself.

    And that’s my recommendation. Unlike Ammonite or Happiest Season, which mostly waste their A-List casts, Gentleman Jack makes excellent use of a talented collection of British TV veterans. Suranne Jones (of Coronation Street and Scott & Bailey) is terrific as the energetic and charismatic Lister, while Sophie Rundle (of Peaky Blinders) more than holds her own in the quieter role. The whole series is directed with great verve, moving briskly to a rousing soundtrack. Even if you’re not interested in period or “relationship” dramas, Gentleman Jack is worth a look; it’s a lively, fun watch for anyone who enjoys a good story.

    Ammonite: THUMB DOWN
    Happiest Christmas: THUMB DOWN
    Gentleman Jack: THUMB UP

  • Revolutions Podcast

    Revolutions Podcast

    Everything is Terrible, and Getting Worse

    Revolutions Podcast: 2013-2020
    By Mike Duncan

    I’m proud to say I didn’t spend the whole pandemic bingeing Netflix and eating Tim Hortons doughnuts. I also used the Days of Lockdown to listen to Mike Duncan’s Revolutions podcast. This was a perfect COVID project; the ten seasons run as long as fifty-five (!) episodes and, as the Table Of Contents shows, he covers every Great Unpleasantness that roiled European politics between 1640 and 1918:

    • Season 01: The English Civil Wars and revolution (1640-1660)
    • Season 02: The American Revolution and War of Independence
    • Season 03: The French Revolutions of 1789
    • Season 04: The Haitian Revolution
    • Season 05: The Spanish American Wars of Independence
    • Season 06: The French July Revolution of 1830
    • Season 07: The European revolutions of 1848
    • Season 08: The Paris Commune of 1870
    • Season 09: The Mexican Revolutions and Civil War, 1910-1920
    • Season 10: The Russian Revolution of 1918

    Duncan was a great host for these hours: engaging, knowledgeable, and possessed of a sly sense of humour. He packs each episode with fascinating details and telling anecdotes while never losing sight of the big picture. From the formidable amount of research on display, Revolutions was clearly a labour of love.

    What’s more, Duncan is a qualified historian (author of The Storm Before the Storm: The Beginning of the End of the Roman Republic). He’s always careful to place events and personalities in the context of their own time, never treating the actual outcome as predetermined, and never judging historical figures by modern standards. He’s as interested in the why and how as in the who, what, and when.

    This is real history, and it tells a story still relevant today. Duncan’s revolutionaries dashed crowns in the gutter and waged war across continents. They brought down kings and tsars whose rule had seemed fixed and eternal or, just as often, were sent to an early grave by betrayal or defeat. Either way, nothing was quite the same after they passed. We are all living in the world they created.

    A Story of Failure

    In short: Revolutions is terrific, and bingeing all ten seasons in one go was a great way to follow certain themes that kept popping up from season to season. Revolutionary movements, for example, splintered into rival factions so often that this began to seem intrinsic to their nature. Even when factionalism wrecked their chances for success, they seldom resisted the centrifugal forces tearing them apart. Despite this, I was surprised to notice just how often these revolutions failed. Some ended in outright defeat, others through corruption of the revolutionary ideal. But, by the end of the podcast, Duncan had told a remarkably consistent story of failure and defeat.

    The French Revolution is fairly typical. An uprising in 1793 sent the Sun King, Louis XVI, to the guillotine, but all attempts to establish a new, revolutionary government were beset by vicious factionalism and infighting. In consequence power passed to a revolving door of new strongmen, each securing their position by the murder of most of their predecessors. A stable new regime was only established when Napoleon took charge as First Consul in 1799 — essentially making himself a military dictator. After the chaos and death of the previous decade, there was little protest when he followed this up by crowning himself Emperor in 1804, reestablishing dynastic rule and spelling the end of the revolution.

    Madam la Guillotine
    Madam la Guillotine

    The Mexican Revolution successfully overthrew the Porfirio regime, which had provided a combination of stable government and crass exploitation for decades. Again, however, his would-be successors soon divided into rival factions. Ten years of civil war and banditry followed, during which the various blocs took turns putting their leader in the president’s chair. None could keep him there for long, however, and finally exhaustion and revulsion at the death toll enabled Alvaro Obregon to establish a more or less stable presidency in 1920. This brought peace and an end to the revolution, but his reliance on selling resource rights to foreigners — while most Mexicans remained poor sustenance farmers — meant the revolution had merely replaced one corrupt oppressor with another.

    The Russian Revolution succeeded in the sense that the Bolsheviks overthrew the Tzar and won the ensuing civil war. But, despite establishing a relatively secure revolutionary government, the death of Lenin sent their leaders into yet another murderous bout of infighting. When Stalin emerged triumphant, that government descended into a cruel dictatorship of death, tyranny, and terror – betraying every one of its founding ideals.

    The United States stands out as perhaps the only exception to this dismal record. The American Revolution established a new republic, broadly in accordance with the principles it espoused, and that republic has endured for almost two and a half centuries. Which raises two interesting questions: why do revolutions almost always fail? And, how did the United States avoid this fate?

    Anything Goes

    We’ve already seen that susceptibility to factionalism was a weakness within most revolutionary movements. This had its roots in the cornucopia of previously unthinkable philosophies and ideas that tended to be unleashed once the old order was challenged. In the atmosphere of freedom thus created, revolutions would attract a wide array of fringe groups, all of them championing wildly incompatible ideals and beliefs.

    When parliament rejected the authority of Charles I, for example, its aims were relatively moderate — to constrain royal authority within the existing social order. But the social upheaval and Civil War that followed soon unleashed more radical elements.

    The “Diggers” were led by William Everard, who had served in the New Model Army. Opposed to the use of force, they believed they could create a secular and classless society simply through seizing land and holding it in the “common good”. A relatively small group, they were suppressed relatively easily by the mainstream parliamentary forces, led by Cromwell and Fairfax.

    Almost as radical but more influential were the “Levellers”. At the end of the first civil war, in 1646, Leveller ideas (including universal suffrage and common land ownership) were debated by ordinary soldiers with their officers. The outbreak of the second civil war enabled the generals to reassert their authority and, when Leveller soldiers later attempted to mutiny, they were brutally put down and their leaders hanged.

    Although both these radically democratic factions were suppressed en route to the New Model Army’s victory over the royalists, they show how easy it is for revolutionary movements to spend almost as much energy on infighting as they do on overthrowing their avowed enemies.

    Liberal vs Social Revolution

    Although less radical than such back-to-the-land movements, conflicts between what what Duncan labels “social” and “liberal” revolutionaries was another source of factionalism. Liberals, representing the growing economic strength of the middle class, mainly wanted admittance to the political institutions that had been the preserve of the old aristocracy. Social revolutionaries sought to tear down, rather than reform, the existing system and redistribute wealth and economic opportunity all the way down to the working classes.

    For liberals, the extension of voting rights (usually to all landowners), and the acceptance of non-nobles into state offices and legislatures, was change enough. Their presence in the corridors of power, they believed, would produce reform for the benefit all. This wasn’t fast or sure enough for the social revolutionaries, to whom any revolution that didn’t include better wages, housing, and protection from starvation, was no revolution at all.

    Infighting between “liberal” and “socialist” factions tore apart several revolutionary movements, especially in Russia and France, where primitive rural economies and the positively feudal state of peasant society made social change for the poor literally a matter of life or death.

    Foreign Intervention

    While factionalism seems inherent to revolutionary movements, other factors contributed to many of their failures. Foreign invasions by counter-revolutionary powers fought agains several revolutions in an era when most royal families were related to one another and revolt against one was seen as a threat to all. Short of invasion, foreign intervention could also take the form of providing asylum for exiled aristocrats who needed a safe haven from which to plot counter-revolution. Even when such foreign pressure failed to prevail over revolutions outright, it deflected resources away from their social and political goals toward national defence.

    The French Revolution, for example, almost immediately faced invading armies from Austria and Prussia, turning the Committee of Public Safety into a war cabinet. A successful defence at Valmy only widened the conflict, resulting in ever-increasing demands for men and supplies. These were used to justify increasingly authoritarian measures on the home front. Soon the executions began for all “traitors” to the nation and, even sooner, such traitors included any “opponents of the revolution”. Revulsion against this murderous excess eventually destroyed public support for the revolution and paved the way for Napoleon’s dictatorship.

    Such military interference extended even into the 20th Century. In 1919 the victorious Allies sent an expeditionary force to Russia, in support of the White Army’s fight against the Bolsheviks. Predictably, this only made the Russian Civil War even more bloody and awful. And, also predictably, the expeditionary force’s main legacy was its use by the Bolsheviks to justify ever more murder and oppression against their political opponents, whom they could now paint as enemies of the state.

    The Basis for Legitimate Authority

    As archaic and unpopular as the ancien regimes may have been, they did at least have a well established concept of the state and its source of authority in a divinely appointed sovereign. This may seem odd to us moderns, but it formed a body of legal precedent for the day-to-day work of government.

    Once it had sent the King and Queen to Madam la guillotine, any new revolutionary government would have to create a new authority for state power from scratch. By what right are you enforcing the laws (and which laws?), collecting taxes, and conscripting citizens into the army? Claiming “we won” as the source of your authority only works until a rival faction takes power and produces a new winner. The result was, all too often, an invitation to bloody infighting and murder en masse as the each faction scrambled to establish themselves at the top of the bloody pile.

    Americans are taught that the answer to this question is a written constitution — a basic law that codifies the people’s will. The problem, of course, is writing such a beast when different groups want such different things. In the midst of a national crisis, if not outright war, it isn’t easy to gather representatives to write a constitution, or hold a vote to establish its legitimacy — especially when basic concepts about who is a citizen and what are their rights are in dispute. The liberals, as noted, believed all male property owners should have the vote, an idea that would grant political power to the previously disenfranchised middle class. The social revolutionaries wanted to go even further with a vote for all adult males. (Few were crazy enough to advocate votes for women.)

    Such disputes meant that some revolutions never managed to finish writing their constitution, while others produced too many. Either outcome meant failure to establish a legitimate, enforceable, and popularly recognized basis for the new government’s authority. In this absence a prolonged power struggle usually ensued between various pro and anti-revolutionary factions – until exhaustion led to some sort of restoration of the old regime. In France this period of struggle was particularly deadly, leading Jacque Mallet du Pan to observe: “like Saturn, the Revolution devours its children”. In their time the Mexican and Russian revolutions would also do their best to prove him right.

    The Question of Succession

    A constitutional basis for state authority is also needed to establish a legitimate process for succession — the peaceful transfer of power to a new government or head of state. In consequence many revolutions, after managing to stumble from crisis to crisis, collapsed upon the death (or murder) of their founder.

    The English Revolution, for example, emerged triumphant from years of civil war. It executed a King and established parliamentary rule under Oliver Cromwell. But this “Protectorate” barely outlived its first Lord Protector. Constant infighting had led Cromwell to assume increasingly dictatorial powers and, like so many dictators since, he failed to establish a legitimate process for succession.

    Richard Cromwell
    Richard Cromwell

    When Cromwell died in 1658 The Protectorate was unable to agree on any better plan than to appoint his talentless son as the new Lord Protector. This, in an advanced country, with a strong parliamentary tradition. Richard Cromwell, however, proved so incapable of mastering the factions struggling to govern Britain that he lasted barely a year before George Monck gathered an army, marched on London, overthrew him, and restored the Long Parliament. In 1660 this led to the restoration of Charles II and the end of England’s experiment with republican rule.

    The US Exception

    With the odds so stacked against any revolutionary movement, how did the Americans avoid seemingly inevitable disaster? Despite a combination of fortunate circumstances and outstanding leadership, it was a near run thing…

    Anything Goes: the splintering call of radical philosophies was not a fatal strain on the American Revolution because of its decentralized political institutions. The War of Independence was waged by a confederation of 13 colonies who, after victory, formed a decentralized federation of 13 states. This was well suited to accommodate their wide variety of religious and other viewpoints. Most areas of social and business life remained under state control so Puritans, for example, could operate their churches freely in Massachusetts, without interference from more moderate states.

    Liberal vs Social: the same decentralization also helped keep the American Revolution from splitting along social versus liberal lines. While there were differing ideas on voting rights in the different colonies, these remained a State jurisdiction, accommodating such local differences. The principle of representative government had been a key belief of the revolution, but the various states were able to move at their own pace to eventually eliminate religious and property requirements from the franchise. Of course, it would take another bloody conflict to end slavery and create a truly universal male franchise.

    Foreign Intervention: the US faced weak neighbours on its own continent (Mexico and British North America) and was separated by wide oceans from the great powers, so foreign intervention was not a great danger to the new nation. Britain, who might have been tempted to recover its colonies, was almost immediately swept up in the Napoleonic Wars. The War of 1812 did reignite the squabble between old world and new, but by then the United States was well established as an independent power and was never under existential threat. When the conflict ended in stalemate Britain had to finally accept the legitimacy of the US republic, leaving it free to pursue national projects, such as western expansion.

    The Basis Of Legitimate Authority: arguments about the basis for legitimate authority, and the fight to draft a constitution, were by far the greatest threat to the success of the American Revolution. During the War of Independence, the 13 Colonies had formalized their alliance with a sort of proto-constitution, The Articles of Confederation. This served to coordinate their war efforts against the British, but its concept of the colonies as a union of sovereign states proved unsustainable once victory was achieved.

    The British defeat at Yorktown in 1781 was followed by years of confusion, economic hardship, and even new rounds of revolutionary violence (including a full-blown farmer’s revolt in Shay’s Rebellion). A variety of ideas emerged in the various States as to what form the new nation should take (in particular how centralized it should be — the essential question of how much power the states should cede to the centre).

    This was ominously reminiscent of the way other revolutionary movements had split apart. In response, the states called a convention in 1787 to draft a new constitution for the national government. Initially this seemed unpromising. One state refused to participate while others were dubious or slow to send representatives (of 76 delegates only 55 actually attended, of which 39 signed the resulting document).

    Fortunately for the new nation, those who did take part included some of the greatest minds of the day: George Washington, James Madison, and Benjamin Franklin to name a few. They designed a bicameral legislature that provided effective central government while protecting the rights of smaller states. The founders also designed a system of elections to ensure peaceful succession and created the position of Vice President to ensure stability in exceptional cases when the presidency was vacant. Though not perfect, their work is justly revered in America today. They saved the revolution when its outcome hung in the balance.

    The Question of Succession: The authors of the constitution were a remarkable group, but it was one man’s character that kept America out of the dictator trap. After leading the Continental Army to victory, George Washington was a larger than life figure, essentially the military commander of the new nation. Unlike so many revolutionary leaders, though, he did not convert this into political power. Instead, in accordance with his belief in limited government, he resigned his commission and retired to his farm (famously following the example of Cincinnatus, the Roman commander who similarly retired in 458 BC).

    George Washington
    George Washington

    Called out of retirement to lead the Constitutional Convention, Washington’s stick-handling was essential to the success of that delicate process. In 1788 he bowed to popular demand and stood for election as the first President of the new republic. Winning by a landslide, his popularity and authority helped establish the legitimacy of the constitution and the national government it established.

    Washington seems to have genuinely desired to serve only one term as president but, concerned about increasing factionalism (the old story!) and ongoing economic struggles, he stood again in 1792. He again won overwhelmingly but, at the end of this second term, his work finally done, the aging Washington retired to his farm for good. The tradition he established by only serving two terms was later enshrined in the 22nd Amendment.

    On three separate occasions Washington’s leadership preserved the revolution when success hung in the balance:

    • By refusing to become a military dictator at the end of the War of Independence;
    • By overseeing the Constitutional Convention’s work to create a constitution acceptable to the states; and
    • By retiring after two terms in office when he could have easily remained President for life.

    Washington ensured the survival of America’s revolutionary idea in circumstances that corrupted or defeated them almost everywhere else. A modern Cincinnatus, indeed.

    Falling Into the Future

    If America’s combination of lucky circumstances and inspired leadership remains unique, this only provokes another question. If revolutions almost always fail, how has the world made so much progress?

    For all our contemporary wailing about the state of the world, the long tail of history shows an incredible improvement in every measure of human wellbeing since our story started in 1640. The absolutely feudal restrictions of ancien regime France, for example, with its internal travel boundaries, restrictive guilds, aristocratic perquisites, impoverished peasants, and the exclusion of even the middle class from civic and political life (much less the working class or poor), are almost unimaginable today. If all this didn’t change by revolutionary means, how did it happen?

    It’s revealing to take some of our earlier examples and follow them a little further. As we’ve seen, the English revolution failed because of factionalism and a failure to answer the question of succession: Richard Cromwell was overthrown by a cabal of worthies – who promptly returned a Stuart to the throne. However, while the end of the Protectorate meant the restoration of the monarchy, this happened in a nation that had been profoundly changed by the experience of war, revolution, and regicide.

    The divine right of kings had less force in a Britain that had chopped off the head of its previous one. Likewise, It was had become even less acceptable for the Stuarts to promote their twin enthusiasms of Catholicism and authoritarian rule. Having executed one king, it proved a much shorter step for the English to throw out his descendent. The same cabal of parliamentarians and English grandees who had restored the Stuarts, sent them packing for good in 1688. Instead of succumbing to strongman rule, however (the British had had enough of that under Cromwell), they sought a middle course – a constitutional monarchy.

    William and Mary of the Netherlands were interested, and Parliament invited them to succeed the Stuarts as king and queen of the United Kingdom – on condition they sign a Bill of Rights to limit royal power and guarantee the supremacy of parliament. They ascended to the British throne in the “Glorious Revolution” (actually counter-revolution) of 1688 and, in 1689, kept their word by granting Royal Assent to the Bill of Rights, 1689. (This is still a living constitutional document for the United Kingdom and Commonwealth Realms, including Canada, Australia, and New Zealand.) Thus, though Britain remained a monarchy, the revolution ensured it was a constitutionally limited on. Henceforth, the Crown would reign but not rule.

    Napoleons defeat in 1814 (and final defeat in 1815…) also brought counter-revolution and the re-instatement of royal rule. As with the Stuarts, however, Louis XVIII became sovereign of a changed nation. Two decades without a king had seen France’s institutions almost entirely remade and Louis was expected to agree to a new constitution before ascending the throne. This ceded political power to the elected legislature effectively made him also a limited monarch.

    While Louis chafed at these constraints, his brother, Charles, attempted to rule like an absolute monarch of old when he ascended to the throne in 1824. Talleyrand famously observed: “they had learned nothing and forgotten nothing”. Such behaviour had become unacceptable, however, and in 1848 the Bourbons were sent packing again, this time for good.

    As in Britain, deposing a monarch was much less traumatic second time round. There was no popular uprising, no reign of terror, and no great regret at seeing the last of the old dynasty. Their place was taken by a populist strongman, Napoleon III. He ruled for a time as an elected President before making himself France’s last monarch. In 1870 his increasingly erratic leadership led to another popular coup, ending any chance of a new Napoleonic dynasty. Instead, yet one more constitution was drafted to establish the Third Republic. France has been a more or less stable democracy ever since.

    It seems that even when revolutions lose the argument, they change the context in which the argument takes place. The defeat of a revolutionary uprising is never the end of the story: more upheavals follow, sometimes amounting to minor insurrections in their own right. The movement may slip backward (or sideways), but that first calamitous experience of the unthinkable sets a process in motion that will not be stopped. Even in defeat, revolutions change the world; nothing quite goes back to the way it was before.

    This is an amazing story, and Revolutions tells it vividly and well. I’ve only touched on a few broad themes here. You’ll have to listen to Mike Duncan for the whole, riveting tale.

    THUMB UP

  • Teenage Bounty Hunters S01

    Teenage Bounty Hunters S01

    Blair: Obviously we have a gift for this line of work.
    Sterling: We’re going to be the best bounty hunters in Atlanta!

    Season 01 (Netflix, USA 2020)
    Created by Kathleen Jordan; starring Maddie Phillips, Anjelica Bette Fellini, Kadeem Hardison…

    Teenage Bounty Hunters is a teen drama with more on its mind than the exploitative title might indicate (shades of Buffy the Vampire Slayer, though Veronica Mars might be the closer relation). Maddie Phillips and Anjelica Bette Fellini star as Sterling and Blair Wesley, fraternal twins and rich white girls living a privileged life in the American south. They attend a Christian private school so, having reached an age to be very interested in sex and stuff, there’s lots of potential conflict with parents, school, and their conformist fellow student.

    Standard fare for a coming-of-age drama, but Bounty Hunters (again, like Buffy or Veronica) uses its genre format to open up the world and push our heroes into unexpected places and situations. Heading home after an evening with their boyfriends, Sterling and Blair stumble upon a bounty hunter (ahem, bail enforcement agent!) in the midst of not apprehending his bail jumper. The girls provide an assist and – yada yada – he takes them on as apprentices. They need the money to fix their parent’s car (long story) and he, as a black man, figures two white girls will be useful for getting into snooty country clubs and such.

    Soon Sterling and Blair are dealing with relationship issues, schoolwork, mean girls, tracking bail jumpers, and holding down a pretend job to keep their real part-time occupation a secret from their parents. Fortunately, the show is structured as a comedy and the well-stuffed plots are propelled with a minimum of teen angst and a maximum of humour. Cue the jokes about southern gun culture, cuisine, and wild-west style law enforcement. The show also has fun with the girls’ “twin vision”, a kind of telepathic communication which lets them deliver quirky commentary on whatever’s going down.

    Sterling & Blair

    Despite the humour, Bounty Hunters treats its setting and characters with respect. At school the twins may be rebels without a clue, but the pervasive Christianity of this world is never mocked. Despite their sex-positivity, both girls are still believers and the show takes their experiences seriously as they ponder what else their church and parents might have got wrong. They’re navigating that fascinating and terrible stage of life when you start questioning your childhood assumptions but aren’t fully adult yet. A process complicated, of course, by their bounty hunting adventures, which keep putting them in the middle of race and class divides they would never see otherwise. Kadeem Hardison, as their bounty hunter boss, also has stuff going on. A disgraced ex-cop, he’s looking for another shot: both at life and with his attractive bail agent. Taking on two hormonal teenagers will be either the best or worst choice he’s ever made.

    That’s a lot to deal with, and the first season of Bounty Hunters sometimes struggles to balance the bounty hunting with the other plot threads. The cases of the week noticeably get short shrift as the season goes on. There’s also a season ending plot-twist that’s barely set up before it’s sprung. Finally, Bounty Hunters isn’t quite as consistently witty or smart as Buffy (what is?), nor does it have the psychological depth and twisty detective work of Veronica Mars.

    So, it’s not quite up there with the genre greats. But what it does have is loads of heart and a loopy energy that keeps Bounty Hunters moving in a bingeable rush. The uniformly terrific cast doesn’t hurt either. Phillips and Bette Fellini are loads of fun and hugely watchable as the eponymous twins. The actors (as usual) are twenty-somethings playing teenagers, but they both perfectly embody the puppy-dog energy, unfounded (and unbounded) self-confidence, and naïve enthusiasm of actual teenagers. When reality trips them up (as it does), they dust themselves off, chalk it up to experience, and carry on – never for a minute thinking this might be telling them that they aren’t quite as smart as they think they are. Hardison is likewise perfect as the aging bounty hunter, cynical from past failures, but who might just have something to teach his apprentices – while their unthinking optimism could be just the thing to re-light the fire in his belly (if they don’t drive him crazy first). The secondary characters are strong too. They’re all distinct personalities who get a good moment or two each, and one even features in a key plot twist that reveals she’s not at all who she seemed.

    Overall, then, very good if not quite great. I wobbled (sorry) between a low Thumb Up or a high Wobbly Thumb. But Teenage Bounty Hunters is the most pure fun I’ve had on Netflix since finishing Dead to Me, so:

    THUMB UP

    2021 Update: Tragically Netflix has cancelled Teenage Bounty Hunters in a vicious round of cost cutting. This has fallen especially heavily on the YA genre, with the also excellent Everything Sucks and I Am Not Okay with This also falling victim. Netflix — I’ll never trust you again!

  • A Writer at War

    A Writer at War

    “The ruthless truth of war…”
    Vasily Grossman, Edited & Translated by Antony Beevor and Luba Vinogradova
    Vintage Books 2007

    In 1941 Vasily Grossman was a Russian-Jewish intellectual and novelist living in Moscow. When Germany invaded, he promptly volunteered for service, but was too old and unfit for combat. Instead he was sent to The Red Star, the army’s official newspaper, as a special correspondent – where a much better use was found for his skills. After a quick course on how to wear a uniform and whom to salute, he spent the rest of the war accompanying the Red Army as a front-line reporter. He was with them through the long retreats of Autumn (barely escaping Orel before it fell) and at the winter battles for Moscow. He was in Stalingrad for much of that epic struggle and was at the liberation of Treblinka death camp. Finally, he accompanied the leading troops into Berlin for the final victory.


    Grossman’s sympathy for the common soldier, and his willingness to share their dangers and hardships, put him as close as any non-combatant can be to what he called “the ruthless truth of war”. With his novelist’s ear for language, and his eye for the telling detail, he turned his interviews and eye-witness accounts into something close to poetry. It’s easy to understand why he’s considered one of the great war correspondents (along with such as Earnie Pyle).

    A Writer at War is a collection of his wartime journalism, edited and translated by the always excellent Antony Beevor and Luba Vinogradova. Unsurprisingly, Grossman tended to run afoul of the authorities, who often edited his articles to tone down the horror, add stock heroic sentiments, and write out bad behaviour by Soviet side. In consequence Beevor makes heavy use of Grossman’s unpublished diary and notebooks. These were kept private – as notes, observations, and raw material for his articles – and so escaped the eye of the censor. The result is an unvarnished picture of the human face of war.

    Modern historians no longer buy into the mythology of operationally brilliant Germans always beating up the primitive Soviets (if it weren’t for that darned Hitler!), but Russian original sources are still rare and hard to access. In consequence the Soviet side still tends to remain somewhat faceless, while the Germans receive vivid portraits of their plans and personalities. Grossman is a useful corrective with his eye-witness accounts of generals and common soldiers, farmers, bureaucrats, and village girls.

    He talked to a fighter squadron shortly after a pilot was awarded a medal for ramming a German plane and the surviving pilots argue vigorously about how easy it is to ram an enemy — not heroic or worthy of a medal — and what a waste it is of all that precious ammunition carried by the plane! His interviews with commanders complaining about their drunken and/or unreliable subordinates puts a human face on the Red Army’s attempts to modernize and improve.

    The famous soulfulness of the Russian personality comes through in his interviews with common soldiers as they wrestle with accepting their almost certain death, albeit in a worthy cause, against regret for everything they’ve left behind or haven’t yet experienced. (A horrifying number of these stories do end with an obituary.) He doesn’t neglect the civilian victims of war, and the book is a reminder that even so vast and “empty” a country as Russia was covered with a network of agricultural towns and villages. Wrenching choices had to be made in many of these about which was the greater danger – flight or occupation.

    A common thread throughout A Writer at War is the absolute faith of almost every Russian soldier in both the rightness of their cause and their superior skill and bravery compared to their German foes. In the West we’ve become used to the Wehrmacht’s portrayal as a skilled but under-equipped foe, only defeated by our superior firepower and resources. So, it’s jaw dropping to read Russian complaints about how the rich Germans win only because of their lavish supplies of aircraft, tanks, and ammunition. The interviews are full of eloquent criticism about how terrified German infantry is of close combat, fighting in forests, and fighting at night (unlike brave Russians!), relying instead on crushing weights of artillery fire.
    Grossman follows many of his subjects for extended periods, conducting multiple interviews and these, eventually, build to a complex portrayal of the strange mixture of inferiority complex, macho pride, and veneration for culture that makes up the personality of these soldiers. In contrast to the macho bragging above, when they find liberated Russian villages half destroyed and filth-ridden, they often sadly observe that the Germans are supposed to be the “cultured” race. When the Red Army enters East Prussia, the tidy towns, good roads, and luxurious homes cause many of them to ask: “why would the Nazis invade our poor country when it’s so nice here?”

    Grossman is too observant and too honest just to be a Red Army cheerleader, though. He is appalled at the common practice among higher commanders of taking a “campaign wife” from the young women in signals or nursing units. Likewise, he’s not a fan of how many of even the more professional officers keep up the tradition of physically striking their subordinates. And, in occupied Germany, his interview subjects include many locals abused and women raped by Russian soldiers.

    The centrepiece of the book, though, is his long account of the liberation of Treblinka death camp, which Beevor includes in full. The Germans attempted to cover up any evidence of Treblinka’s existence before retreating, but bits of bone and clothing were already poking above the surface of the empty fields when the Russians arrived. And most of the work of burning and burying the dead was done by prisoners, a few of whom were able to escape into the nearby woods before they too became victims of the final round of murders. Grossman interviewed all of them. And let me tell you, even if you think you know about the holocaust, his account of how Treblinka was operated will absolutely harrow you. He explains, with detailed stories and examples, exactly how the Germans used psychological tricks and manipulation to keep their victims docile, so as to reduce the number of staff needed to handle them. The same urge to efficiency kept the camp staff constantly developing their techniques for mass murder and the disposal of remains to keep up with the ever-increasing trainloads of men, women, and children arriving at the camp.
    Seventy-five years later this remains a vital and important record.

    THUMB UP

    Note: If you want more Grossman, his post-war novel, Life and Fate, is a classic and widely available in translation.

  • Apple Event (15 Sep 2020)

    Apple Event (15 Sep 2020)

    Watches, iPads, and One More Thing

    As was widely rumoured, the 2020 iPhones are delayed. So, instead of showing them off at the traditional September event, Apple focussed mainly on Watch and iPad this year. The hour wasn’t without interest, though. Amidst the usual new model shininess there were some useful tidbits to illustrate Apple’s current direction with these products and where it’s going as a company generally.

    Apple Watch Series 6

    Series 6 ushered in a new hardware generation for the Watch as expected, but for the first time (I think) Apple introduced a second model in the same year: the Apple Watch SE. Both its name and mid-range price nicely match the recently introduced iPhone SE. Disruptions to the global economy (starting even before COVID19), and the strong US dollar, have put pressure on Apple to broaden all its product lines with lower price models. So, the current Watch range also includes the three-year-old Series 3, hitting all Apple’s preferred price points:
    · Good (Series 3),
    · Better (SE), and
    · Best (Series 6).

    Notice that, even with three models, the line still starts at “Good” and goes from there to the best you can get. Apple has been relentless about not denting their premium brand halo by never selling anything cheap or shoddy. They didn’t answer the call to make a cheap netbook and notice how short-lived the plastic iPhone 5c was. Instead, they now attempt to reach the lowest price for a still premium product by keeping older models in the line (at much reduced manufacturing costs).

    As for the Series 6, it continues the tradition of introducing a new hardware feature every year. This time it’s a blood oxygen sensor which works by shining an infra-red light on your wrist. Add the existing heartrate sensor, ECG monitoring, and Fall Detection and Apple is continuing to go all in on the Watch as a health and fitness device (beyond its baseline communication abilities). On the software side this year’s watchOS 7 continues the focus with sleep tracking and handwashing detection. And, there’s a new Fitness service (more on that below).

    It’s interesting to compare this relentless focus on health and fitness with the utterly scatter-shot introduction of the Watch in 2015. Apple clearly wasn’t sure what the new device would really be used for and the result was one of their weaker launches, which actually diluted Watch’s appeal by throwing every piece of spaghetti at the wall (even calling out the ability to send doodles to your friends). This is a hazard of making general purpose tools like computers; it often isn’t clear what your customers will use them for until they’ve had them for a while. In the case of Apple Watch, it turns out that the value added by being on your wrist isn’t just glanceability for communications, but also touch contact with your skin above the circulatory system. This enables the fitting of health sensors that no other computing device can match. All credit to Apple, then, for noticing and doubling down on health. The result has been such dominance that Apple Watch no longer has any real competitors.
    By the way, this should be a good year to buy a Watch. Last year’s hardware feature was the long asked for ability to keep the screen always on. But, just as the first iPad with a Retina display chugged a little, Series 5’s always-on display struggled with brightness and battery life. The S6 chipset inside each Series 6 should handle these demands much better. If you’re on a budget, and can wait a year, the 2021 SE will likely inherit the S6 chip and the blood oxygen sensor.

    iPad (8th Generation) & iPad Air (4th Generation)

    Apple also introduced two new iPads, the 8th Generation as the “Good” model and the iPad Air (no designation given, but it’s the 4th Gen) as the “Better”. The iPad Pros (both 11” and 12.9” sizes) were updated earlier this year, so iPad too now has current models covering the whole Apple price range.

    While iPad (8th Gen) may occupy the same place in its line as Series 3 does for the Watch, it’s not an old model that’s been kept around. Instead, it’s recycled old technology with new internals. Thus, it keeps the traditional rounded form factor with wide bezels and a Touch ID sensor, and the basic retina screen, but the upgraded chipset means not only a faster processor, but compatibility with the Smart Keyboard and Apple Pencil (1stGen). The former is important, given Apple’s focus on iPad’s ability to switch between pure tablet and laptop replacement modes, and the latter is really important, given Apple’s emphasis on new Pencil features in iPadOS 14.

    The iPad Air 4th Gen gets a much bigger update. It has a new form factor, matching the sexy, square edged, thin bezel cases of the Pro models. This means a bigger screen (10.9”) and compatibility with the 2nd Gen Pencil and the Magic Keyboard. The screen is “liquid retina”, like the Pro models, featuring a wide colour gamut for photo editing in addition to high resolution. To keep the price down it has less storage than the Pro models and lacks Face ID and LIDAR. Instead, the Touch ID sensor is cleverly integrated into the top button (there’s no room for it on the skinny bezels). I can’t emphasize enough the significant of the new Air’s compatibility with Pencil (2nd Gen) and the Magic Keyboard.

    There have been iPad keyboards before, but the Magic Keyboard really is the game-changer. It provides secure protection to both sides of the iPad, while the magnet attachments let you detach it instantly for handheld use as a media tablet (reading, watching videos, drawing, etc…). It reattaches just as quickly, conveniently turning the iPad into a laptop replacement. As important as this ability to almost instantly switch between modes, the Magic Keyboard makes iPad a good (if still slightly eccentric) laptop replacement with its complete set of hardware keys – and (finally!) a trackpad. Combined with the excellent cursor support added to iPadOS this year, the iPad now feels mature in both roles. By comparison its closest competitor, the Microsoft Surface, is a terrible tablet (too large, heavy, and a with the wrong screen ratio) and a mediocre laptop replacement (so-so battery life, not small and light, janky trackpad, awkward non-unfriendly kickstand…).

    Pencil (2nd Gen) has also brought maturity to the hardware side of iPad’s drawing and handwriting capabilities with its convenient magnetic storage and charging on the side of iPad. Both Pencils will benefit, though, from much enhanced support in the just released iPadOS 14. This includes improved object detection for drawing perfect shapes, the ability to mix drawings and digital content more readily, instantly convert handwriting to digitised text, and the ability to handwrite into any text field.

    Just as Apple Watch struggled for an identity at first, it feels like iPad’s place in the computing range is finally coming into focus. Is it a tablet or a laptop replacement? Both, it turns out. As a multi-modal (hand-held; laptop), multi-input (touch, pencil, keyboard) computer that is also a mobile device (location services, sensors, and optional cellular). This is finally starting to feel less like schizophrenia and more like a combination that is greater than the sum of its parts.

    Services

    As Apple’s years of hardware triumphs have reached the point that they’ve saturated many of their markets, the push into services as their next opportunity for growth has been well documented. The iTunes and App Stores are well established, but you can also pay Apple for extra iCloud storage and subscribe to Apple Music, News +, Arcade, and TV +. Apple Pay is everywhere and, in the U.S., can be transacted through an Apple credit card.
    So, the Fall event saw Apple introduce yet another service: Fitness +. This will feature a continuously updated selection of workouts by professional trainers and will integrate with Apple’s hardware and software in a way only they can do. Apple Music will provide tunes for your workout, the Watch will monitor your workout time and health indicators, and either iPhone or iPad will display the video. Everything will be recorded in the Fitness App, from where it can be accessed by the Health App.

    Even more exciting, Apple finally announced a bundle for its subscription services: Apple One. Also available “this fall” it will be US$15 for a single user or US$20 for a family plan (all prices rounded to the nearest dollar because I don’t think you’re stupid). This is a phenomenal bargain – Apple Music alone is $10 a month. I expect it will be a no-brainer for anyone who’s at all invested in the Apple ecosystem. Which won’t be a big deal for the more successful services (Music, iCloud, Arcade) but will be a huge boost to those still growing or which have received – ahem – mixed reviews (TV +, News +). It should give Fitness + a great launch as well. This will finally, I am sure, confirm Apple as a major services player. It will take time to see how good that is for Apple or its customers. The incentives for a services company are different from those of a hardware maker…

    21 SEP 2020 UPDATE: The Apple One web page is up, and it turns out the Individual subscription only includes: Apple Music, TV+, Arcade, and 50GB of iCloud storage (you can, of course, pay extra for additional storage). Family plan is the same, but with 200GB of iCloud storage. If you’re already paying for Apple Music, I think this is still a no-brainer, but it’s not the super-phenomenal-mega-deal I thought it was. To get everything (adding News+ and Fitness+ to the above), you need to go to Apple One Premier at US$30 a month. This seems a big jump, but it also includes 2TB (that’s two terabytes) of iCloud storage, so it’s still a pretty good deal.

    What I don’t like about this is the way Apple continues to nickel and dime iCloud storage, using it here as an incentive to push you to the “Premier” plan. It’s a disgrace that the purchase of an iPhone (or other Apple device) only includes 5GB of “free” iCloud storage. That’s not enough for online back-up of most customers’ photos and documents. Sure, it’s only US$1 ($1.30 where I live) to upgrade to the 50GB plan, but a lot of people just won’t pay for any such subscription service. I bet there’s a big overlap in the Venn diagram of such customers and those who don’t know how to or are unwilling to plug their iPhone into a computer and back-up locally.

    That means a lot of iPhone owners are walking around, photographing precious memories with their shiny new device (which may have cost $1,000 or more) and never backing-up their pictures. That’s just unacceptable, and all because Apple seems to think iCloud storage can be a profit centre. This is why I ended the original version of this section with the observation about incentives for a services company being different from those of a hardware maker.

    I hope Apple’s heart is still in the computing devices they make. A good way to show it would be to bump free iCloud storage up to the 50GB level, enough to ensure the security of most of their customers. While we’re dreaming, the Apple One Individual bundle should then include at least 200GB (enough to back-up even big photo and video libraries). But, what do I know? I’m not the one who built a trillion-dollar company. And, even if Apple sticks with its current scheme for iCloud pricing, I’ll probably still go for Apple One Premier when it’s available.

    Final Thoughts

    Environment: Apple continued to highlight its environmental initiatives. The new Watches and iPads are both made of recycled aluminum and their packaging is 95% recycled materials. Probably even better for the environment, a USB-A charger is no longer included with the watches, just a charging cord with its inductive puck. Apple noted that all Watch customers already have a USB-A charger (from a previous Watch or from their iPhone – which the Watch doesn’t work without), but it’ll be interesting to see how many customers interpret this as a simple cash grab. The reality is that Apple has been cutting back on bundled accessories for a long time now (MacBooks even included a remote-control back in the day) and I – for one – am all for it. If you do need a particular gewgaw, they’re all readily available, and this way the rest of us don’t have to put up with them cluttering our closets (and, eventually, a landfill).

    Bang for buck: as Apple rounds out its product lines into Good – Better – Best, I think the “Better” model is tending to offer the best bang for the buck and be the best choice for most customers. The new Watch SE and iPad Air both look like terrific, premium products for significantly less money than the top end models. Unless there’s a specific feature you need, the “Pro” models tend to be good examples of the law of diminishing returns. On the other end, the “Good” models (while of premium construction) sometimes lack support for new capabilities because of their old chipsets or case design. iPad 8th Gen, for example, doesn’t work with the much improved 2nd Gen Pencil or the genuinely magic Magic Keyboard. And Watch Series 3 lacks support for the new family activation feature, which its low price would otherwise make it a perfect candidate for.

    “Products”: Apple is a maker of computers. Some of these have traditional form factors (MacBooks, iMacs…) and some don’t (iPhone, Watch, iPad…) but they are all computers of one sort or other. And what makes computers special is their ability to change function by running different software, making them the ultimate general-purpose tool. You can use computers for everything from watching cat videos to the most profound acts of creation. And tools matter; without them we humans would still be gathering berries on the Serengeti. So, it bothers me – if only a little – that Tim Cook, even at his most eloquent, when he’s praising all the great things customers are doing with Apple devices, always just refers to them as “products”.

  • Habits

    Habits

    The Art of Getting Things Done

    In his classic study on the nature of war Carl Von Clausewitz observes that: “Everything in war is simple, but the simplest thing is difficult. The difficulties accumulate and end by producing a kind of friction…”(1) If you’ve ever fallen off the Getting Things Done bandwagon, or struggled to keep going with a creative side project, the words of this wily old Prussian will be eerily relevant.

    Everything in David Allen’s GTD method(2) is simple, after all. You write down your commitments and clear your brain, process these into next actions, get stuff done, and regularly review the whole system. And yet, for many of us: “difficulties accumulate and end by creating a kind of friction”. I’ve been teaching productivity workshops and coaching would-be GTD’ers for years now and it’s unnerving how often someone says: “I’m still kind of doing GTD, but I haven’t finished a review for a while” or: “yeah, I was all in on GTD, but fell off the wagon and now I’m just trying to get started again.”

    This matters because, without some kind of trusted system to keep track of all the stuff coming at us, it’s way too easy for our work, creative, and social lives to start drifting. Then we’re reduced to just dealing with whichever crisis is currently erupting. In the words of David Allen, we end up “reacting to the loudest or latest.”

    After falling off the wagon a couple of times myself, I’ve come to appreciate that GTD is more a practice that you need to exercise – like learning a musical instrument – than a technique you learn intellectually. David Allen has often compared GTD to his own practice of martial arts. And, with any practice, the key to success is good habits.

    For your trusted system to work, every task or commitment of significance has to be captured. Then you have to be absolutely consistent about processing these into actionable next actions. And you have to review your system regularly to identify what’s been overlooked or become redundant. If these practices aren’t maintained with disciplined consistency, Clausewitzian friction accumulates as an ever-heavier layer of cruft: those captured tasks accumulate in your GTD inbox, un-processed, un-organized, un-reviewed and unloved – only forgotten. (Usually this happens alongside overflowing email and paper inboxes – which also accumulate and end by producing a kind of overwhelming guilt…)
    The question then is: how do you develop good habits? I have three suggestions.

    Time

    Doing something at the same time every day is a powerful way to create strong habits. This makes keeping to a consistent daily routine the essential foundation for both your GTD practice and actually getting all that stuff done. Start building yours by roughing out a daily schedule from the time you wake up to when you go to bed. Fill in time blocks first for your fixed or required daily activities and obligations (work, meetings, family, and professional obligations…).

    Then make a list of all the discretionary activities you want to maintain on a daily basis: your GTD Daily Review, exercise, meals, new creative or personal goals, movies and television, (naps!) etc. Note how much time each should take and how difficult they are on a scale from “high focus and high energy” to “I can do this in my sleep”.

    The real work is fitting these around the fixed time blocks in your schedule. The main consideration is probably your energy level through the day; are you a morning or an evening person? If a morning person, important high energy tasks should go early in the day (and vice versa). It may take some shifting and shoving to fit everything in but, once you have a workable timetable, write it out as a checklist and keep it somewhere easy to reference (my Daily Routine is a project in my task manager app).

    Change is hardest in the early stages, so keep your checklist handy as you start practicing your routine. Try to stick it as closely as possible but be mindful of what’s working and what’s not. After a few days you may find a time block is too specific: you scheduled a specific task that doesn’t need doing every day. Other jobs pop up, though, so this would be better as a general maintenance time block. Other activities might not be working when you scheduled them. If you just keep missing them, your timetable might need to be adjusted.

    In my case I started implementing a daily routine with the goal of sleeping better and spending more time writing. As I’m a morning person and writing is a high energy, focussed activity I made a writing session my first time block in the morning and scheduled it for a pretty early start. That way I could get in a good session before leaving for work or dealing with any other distractions. To support an early start, I also concluded my daily routine with a fairly early bedtime. This has worked very well for me.

    The morning exercise time in my first draft didn’t work out nearly so well. Despite good intentions, I was never motivated enough to go out running before work for more than a day or two in a row. My writing session, which was more important to me, was using up all my pre-go to job energy. So, I changed my exercise time to the lunch hour instead, and this immediately clicked. I’m ready for a change of pace by then, and I love how an outside walk or run breaks up the workday. After years of this now, it’s harder for me to not exercise at lunch than just go outside and do it – a sure sign the habit has set.

    After supper I’m usually not up to much mentally, so that’s my time for hobbies and entertainment (reading, Twitter, YouTube, movies, etc). Social media, especially, is engineered to be the ultimate distraction, algorithmically feeding you bite-size morsels of entertainment that don’t seem like much in themselves but hit you with just enough dopamine to get you clicking on the next one. I quit Facebook a while ago, but Twitter and YouTube remain my vices, so I allow time for them in the evening, when my energy level is low anyway (and ban them completely before lunch).

    Given how important it is to get the timing right for your tasks, is there a best time for the GTD Daily Review? There are a couple of popular options. Early morning has the advantage of immediacy; you make your plan for the day and get right at it. Late in the evening, just before you start shutting down to go to bed, is also an interesting possibility. In this case you’re planning the next day ahead of time, which does help me sleep easier. And, the next morning, there’s no futzing about – you just dive in and get cranking.

    That’s why I’m starting to favour the evening option. It isn’t a high energy time for most of us but, once you’re completing Daily Reviews on a regular basis, they become pretty quick and easy. Something like the following should do it: clear your inbox; review any @waiting tasks; identify and tag/flag tasks for tomorrow; review your calendar for tomorrow; and complete a quick mind-sweep. A Review in the evening also means you’re saving your high energy time for actual work.

    It’s harder to develop reliable habits for weekly tasks that don’t get the benefit of daily repetition. Which probably explains why the Weekly Review is the most common point of failure for GTD’ers. This is a Big Deal because the Weekly Review just may be the most important single element of the whole GTD system. It’s when you review your goals; set a weekly plan; and review the complete project list for stalled, outdated, and forgotten projects and other cruft. It is your main weapon against system entropy.

    Sad to say, this is something else I’ve struggled with. Rather than stick with the regular daily routine (adding weekend events), or take a holiday from routines altogether, I’ve come to think it’s better to have specific routines for each weekend day. This way you can assign dedicated day/times for activities that only occur once a week (your GTD weekly review, for sure, but also shopping, laundry, etc). I try to concentrate most of these in one day so the other can be left open for spontaneous family, social, entertainment, travel and other fun activities. Embrace the weekend!

    As to which specific day/time is best for the Weekly Review, there’s a good argument for starting your weekend on Friday. A lot of GTD’ers find it works well to schedule a Weekly Review as their last task before leaving work on Friday afternoon. The previous week’s accomplishments and next week’s requirements are fresh in your mind, so getting into it is quick and easy. Since the Weekly Review isn’t a particularly high energy task it’s also doable at the end of the day. And this does leave more of the weekend free.

    Another popular time for the Weekly Review is Sunday evening, when the weekend is done and you’re starting to feel the urgency of preparing for next week. This can also work well – if you have the discipline to start a review when your nice, warm bed is starting to call. As always, the important thing is to find a day/time you can stick with. Even then, the Weekly Review will remain the hardest element of your GTD practice to keep current. If a daily routine isn’t working, you can tell within a few days and adjust accordingly. It takes several weeks to reach the same point with a weekly task. So, it pays to be particularly mindful of how well your weekends are working.

    You know your routines are working when the habits they build are consistently letting you work on the goals you’ve set for yourself. Of course, you also need to know when to interrupt the routine for spur-of-the-moment opportunities. I have a friend who’ll call when he’s in the neighbourhood to suggest lunch. No matter how short the notice I always say yes, knowing my routine provides a framework for quickly getting back on track after this enjoyable interruption, along with a checklist for everything that’s still outstanding. (Before I had a good routine, anything unexpected would throw the whole day off.)

    David Sparks (of MacSparky fame)(3) has a system he calls “Block Calendaring” which, is both highly structured and very flexible. So, it supports this dual character of daily routines extremely well. As the name implies, it consists of listing (in addition to your normal appointments and events) all your routine tasks in a calendar as time blocks. David speeds up task entry into his digital calendar with an automation that squirts in his generic Daily Routine template. And, of course, it helps to keep Daily Routine tasks in their own calendar so they can be toggled on and off.

    Block calendaring is intriguing for a couple of reasons: it consolidates both routine activities and calendar appointments in a single place; and it displays each day’s schedule of routine tasks as its own set of entries (unlike the generic checklist in my task manager, which I currently use for reference). So, instead of just listing “Writing” as the 06:00 to 07:00 time block, you can specify “Writing Mac Power Users Script” for this Wednesday at 06:00 to 07:00 and “Writing Photos Course” for Thursday at the same time. On days when you have an appointment or special event you can adjust the templated time blocks to show the modified schedule. So, your calendar provides a complete and customized checklist for each day as you work through them. Hmm…

    There are some who might still argue that keeping to a set daily routine is a regimented, un-fun way to live and death to creativity. I think this gets it totally backward. There’s a certain amount of basic life-maintenance we all have to get through and, the more you can turn this into a routine, the less time, energy, and attention it takes away from the fun, creative things you want to spend time on. And, even for fun, creative work, the best way to accomplish anything worthwhile is to make a habit of showing up consistently every day (that is, to have a routine). This is true regardless of your field of endeavour. Successful artists (by which I mean those who actually create stuff, not your friends who claim to be “creative” souls), almost always have very powerful and disciplined habits. Twyla Tharp’s classic memoir, The Creative Habit(4)*, does a great job of illustrating her own system for supporting creative work.

    Place

    Place is also a surprisingly strong tool for forming habits, because our mind readily forms associations between activities and the places where they happen. I went through a busy period at my day job when I’d frequently take work home with the pious intention of finishing it in the evening. And, the next morning – with nothing done – I’d take that same work right back to the office. My home computer was just not a place I associated with work; it was my web surfing, email, and video game machine. In consequence I just never got started on that pile of work-work I’d carefully placed beside it.

    This finally became annoying enough that I grabbed my laptop after supper one day and headed to a local café. Sitting there, at a quiet table, with a hot drink at hand, it was almost ridiculously easy to get to work. An hour or so later I’d met my goal. Now I regularly head to this coffee shop for extra-curricular tasks and, having built its association with these, they’re amazingly easy to complete. (Of course, I’m now reluctant to visit this particular venue for coffee as I don’t want to weaken its association with work!)

    You can use this principle to help cement your habits by identifying specific locations, as well as times, for your various tasks. As the coffee shop experience shows, these don’t have to be just at home.

    Interestingly, the wellness people recognize this principle too. Their advice for getting better sleep often includes the guidance that you shouldn’t hang out in your bed to read, take short naps, watch YouTube videos, etc, because you then associate it with activities other than sleep.

    Repetition

    Finally, nothing sets a habit like repetition. This takes a focussed effort at first, so I’ll repeat the advice to write out your routine and post it in an accessible spot. Then try to stick to it as closely as possible as you start implementing your daily routine, only becoming more flexible about stretching or shortening time blocks as needed, or skipping and adding activities due to circumstances, as you find your daily routine becoming – well – routine.
    It takes discipline to stick with a habit at first, and the Asian Efficiency website(5) is a big advocate of using rituals to help with this. I’m not always sure what they mean by this, but I think the essence is kicking off a regular activity with a series of small and very specific actions, which become automatic (or ritualistic). In their podcast Brooks Duncan gave the example of always starting a writing session by putting on a certain album for background music – always the first thing he does, and always the same album. Despite some scepticism about how woo-woo this sounds, I have found it actually is effective. Going through a little ritual of very specific, small steps at the beginning of a task does, indeed, build a kind of muscle memory that just naturally flows into the actual work.

    Also, we shouldn’t forget about fun; it’s easier to stick with a task if it’s enjoyable. So, as a coffee lover, I combine pleasure with ritual by starting my morning writing session with a very specific sequence of actions: putting the kettle on, opening the blinds, sitting at the computer, and opening the apps and windows I need for the day. By then the kettle’s boiling and I get up to make that first, hot cup of coffee. When I sit back down and take a sip of the delicious brew, my muscle memory has kicked in and the writing starts automatically.
    If, despite all your efforts, you’re still finding it impossible to consistently start a daily task, you may be tackling it at the wrong time of day. Especially at the start, it’s important to be mindful of which elements of the routine work and which don’t. At some point you may need to re-jig the timetable and start over.

    End

    The power of habit resides in a fundamental truth: we only have control over our actions, not their outcomes. If your goal is to get fit, you cannot, with any amount of determination, guarantee a beach-ready body. Your progress will be buffeted by all manner of chance: work might get busy, the family might object to your healthy meal choices, the weather might discourage running outside, you may just not have a skinny metabolism. The only thing you do control is whether or not you lace up your running shoes every day and go outside to run for fifteen minutes. Action is what counts, and habits reinforce action.

    This is why so many New Year’s Resolutions fail. We make them in terms of goals (the outcomes of action) rather than in terms of what we can actually so. This year, if physical fitness is your goal, try making a resolution instead just to go for a short bike ride (or walk or run) five days a week.

    If habits support action, then a strong daily routine, with a time and place for each daily activity, is the foundation for your habits. This focus on the routines of day-to-day life might seem dry and non-aspirational to some. There is a personality type that likes to dream big, to live in terms of grand ambitions and goals. There’s nothing wrong with that, of course. But, to realize their vision, even dreamers need to start work sometime. And that’s when they’ll be much more effective focussing on habits and actions.

    In any case, I think there’s something intrinsically healthy about focussing on actions – the thing we can control – rather than on outcomes, which will always be susceptible to chance and circumstance. There’s wisdom in the saying: “focus on the journey, not the destination”. Even considering our life’s journey as a whole, this seems to me a good and productive way to live.

    NOTES:
    (1) P119, On War, by Carl Von Clausewitz, edited and translated by Michael Howard and Peter Paret, Princeton University Press, 1976
    (2) Getting Things Done (updated edition), by David Allen, Penguin Books, 2015
    (3) macsparky.com
    (4) The Creative Habit, by Twyla Tharp, Simon & Schuster, 2006
    (5) asianefficiency.com

  • The Black Flight

    The Black Flight

    The Memoir of Raymond Collishaw, CB, DSO, DSC, DFC

    Raymond Collishaw
    CEF Books 2008

    It’s remarkable that four of the greatest British flying aces of WWI are Canadian. Billy Bishop, with 72 officially credited victories, has the top score for the Royal Flying Corps (RFC) while Raymond Collishaw, at 60, tops the Royal Naval Air Service (RNAS). Donald MacLaren, at 54, is not far behind and achieved more victories in Sopwith Camels than anyone else. William Barker, with 50 victories, won the VC in one of the most celebrated air combats of all time, ending the war as the most highly decorated pilot in British service.


    Amazingly, all four survived the war, and three returned to Canada to be celebrated and showered with business and professional opportunities. Billy Bishop even became a figure of pop culture and appears in various media to this day. You don’t have to be a history nerd to recognize his name. Donald MacLaren was a major pioneer in BC aviation history. And anyone with any interest in air combat at all knows of William Barker’s famous final duel, alone in his Sopwith Snipe, taking on fifteen or more Fokker D.VIIs.

    Raymond Collishaw, in comparison, has remained obscure — despite being, perhaps, the most extraordinary member of this quite extraordinary group. Perhaps this is because he flew for the publicity averse RNAS, or because he continued in British service after the war. But it’s typical that his 1973 memoir, Air Command, wasn’t even released in Canada. Fortunately, it has been republished as The Black Flight (2008) and is now more widely available. I purchased a copy at The Museum of the Regiments during a recent visit to Calgary.

    If there’s any justice, this new edition will introduce Collishaw to a wider audience. It’s a slender volume at 272 pages (with notes) and moves along briskly, concentrating on the highlights of his well-packed military career. Significant events are recalled in sharp detail, though, including things Collishaw couldn’t have known at the time. So the text has also clearly benefited from some post mortem research. (The original release, Air Command was written with the help of ex-RCAF historian Ronald Dodds.) There’s not a lot in the way of personal or family detail, but the book is well written, with a wry sense of humour, that seems to capture Collishaw’s personality.

    The story begins in Nanaimo, British Columbia, where Collishaw was born to British parents who had immigrated in search of adventure and fortune in the gold fields. Their son soon showed that the apple doesn’t drop far from the tree. He joined the Fisheries Protection Service (a sort of proto-Coast Guard) as a cabin boy at the age of just fifteen. Having worked his way up to rank of First Officer by the time war broke out in 1914, he promptly sought a transfer to the Royal Navy. This looked to be a slow process, but the air service was short of flyers and actively recruiting in Canada. The only hitch was the requirement to have your own flying certificate before applying. Collishaw promptly raised the necessary cash and headed to Toronto for private lessons at the only flying school then operating in Canada. He was in a navy uniform and on his way to England by January 1916.

    World War I

    After completing advanced flying training, he was posted to 3 Naval Wing in the Alsace region. This was flying the first independent bombing missions against deep targets and pioneering the techniques of what we would now call strategic bombing. Collishaw flew escort to these raids in Sopwith 1 ½ Strutters and, despite the weather often limiting their flying, soon showed himself a skilled and useful combat pilot.

    After some home leave, and promotion to Flight Commander, he was posted to 10 Naval Squadron, near Ypres. There he achieved what fame he does have with air enthusiasts, commanding the famous “Black Flight”, an elite, all-Canadian flight of black-nosed Sopwith Triplanes. 10 Squadron amassed an extraordinary combat record during the dangerous days of 1917, shooting down 84 enemy aircraft in the critical period of April to July alone. Collishaw accounted for 27 of these himself in his personal Triplane, Black Maria.

    On average only one of the original flyers in each five-plane flight survived Bloody April unwounded. Remarkably, and despite several close calls, Collishaw came through unscathed. More than once enemy bullets passed close enough to shatter his goggles. On another occasion his controls were shot away, resulting in a crash landing. Once, in thick fog, he landed on a German airfield by accident. Upon noticing the black crosses on the other planes, he cracked the throttle open and barely managed to take off before capture. In one dogfight he even manoeuvred so severely, to avoid a collision, that his seat belt snapped and he was flung out of the cockpit. He managed to grab onto the upper wing struts of his Triplane and, despite the plane’s uncontrolled swoops and lunges, eventually levered his legs back inside and regained control.

    Collishaw in a Sopwith Camel
    Collishaw in a Sopwith Camel

    Various observers of this period have noted Collishaw’s outstanding qualities as a leader. To boost the confidence of new pilots, for example, he would take them up as his wingman for their first few flights. If they found a German aircraft, he would lead them into an attack, with the new pilot typically filling the sky with holes while Collishaw put a few short, well-aimed bursts into the enemy’s vitals. Upon return, Collishaw would clap the novice on the back and exclaim: “Well done, old boy — you bagged your first hun!” The terrified and confused novice would swell with pride, and the new-found confidence probably boosted his chances of survival significantly. More than one commentator has calculated that Collishaw’s official victory tally would be significantly higher if it included all the kills he gave away.

    Typically, Collishaw himself says nothing of this. Throughout The Black Flight he does pause the narrative occasionally to comment on various topics, including the true nature of chivalry in the air war, how pilots coped with the dangers they faced, the role of a combat leader, and so on. These asides are always thoughtful and interesting but, the one time he discusses victory claims, it’s only to note how fleeting and fraught are the circumstances in which they’re made, and therefore how unreliable they are (regardless of even good faith efforts to verify them).

    After a period of leave in Canada, and promotion to Squadron Commander, Collishaw commanded a coastal defence squadron for most of 1918, racking up yet more kills in Sopwith Camels. Despite the drastic downsizing of the services at the end of the European war, he was offered and accepted a permanent commission in the newly formed Royal Air Force (which absorbed the old RFC and RNAS).

    Russia

    Western participation in the Russian Civil War has become an obscure footnote of history, but this became the scene of yet more dramatic adventures for Collishaw. He was offered the poisoned chalice of commanding the air contingent being sent to assist White Russian forces against the Bolsheviks. Although this meant cancelling a planned attempt at the first cross-Atlantic flight, Collishaw’s reaction was immediate: “what I had thus far heard about the Bolshies led me to believe they were a thoroughly bad lot, and I accepted without hesitation.”

    Between his arrival in south Russia in June 1919, and the collapse of the enterprise in March 1920, Collishaw’s mixed squadron of fighters and bombers gave air support to Deniken’s White Army. To cope with the vast distances, all his ground support elements were based out of three steam trains (one per flight). Thus organized they could quickly deploy forward or back, hastily setting up flying strips wherever they stopped. For months on end the rapidly changing fortunes of war took Collishaw and his squadron all across Southern Russia. He took part in several missions and even shot down a Red Army Nieuport himself to increase his final score to 60 victories. Less happily, he caught typhus at one point and almost died, surviving only by the lucky chance of falling into the care of a refugee Russian Countess who had been trained as a nurse.

    Collishaw in Russia
    Collishaw in Russia

    When the White cause began to fall apart, Collishaw consolidated his remaining aircraft onto a single train and began a fraught retreat, over the snow-covered countryside, to Crimea and the last Allied held port. Their progress was frequently slowed by weather and the need to repair rails torn up by local Red sympathizers. And, soon, a Bolshevik train was spotted behind them in hot pursuit. This was only kept at bay by frantically tearing up the newly repaired rails as they passed. The fate for anyone who fell prisoner in that murderous internecine conflict didn’t bear thinking about, but the air contingent reached port without losing a man – a remarkable feat of leadership. Collishaw and his squadron remained in Russia almost until the end; when the last Intervention Forces were finally evacuated, he brought the remaining elements of his squadron home with almost no loss of life from their Russian service.

    Between the Wars

    Seemingly allergic to a quiet life, Collishaw then commanded RAF squadrons in Iraq and Palestine, pioneering air re-supply techniques and the use of punitive air raids to quell local rebellions with minimum loss of life (and expense). Energetic and open to new ideas, a typical Collishaw scheme was his decision to fill the inner tube of a bomber tire with water to see if this could speed up re-supply by air. The test, however, did not go well: “The wretched tire and inner tube hit the ground as planned, but as if possessed of some evil intelligence immediately bounced up onto a rolling position and changed course for the hanger line. Those who saw the 750-pound monster bounding toward them at close to 100 miles per hour took violent evasion action, but nothing could save the hanger…” (The book is full of anecdotes like this, though many are such that the other parties must remain nameless.)

    Service with a home squadron in England followed, which he describes as the most boring period of his whole career. This gave him the time, though, to finally marry his sweetheart, the sister of a fellow pilot he met while on leave in Canada. He hadn’t felt able to marry during the war (possibly leaving her a widow), and active service in Russia and the Middle East had interfered since, so it had been a Very Long Engagement indeed. Now happily joined, the couple promptly produced two daughters.

    World War II

    Service on an aircraft carrier followed, and then command of the Desert Air Force in Egypt. Here Collishaw seems to have been in his element, improvising madly as he prepared for another world war in a secondary theatre that would receive only very limited resources. When the Italians attacked out of Libya in 1940, he put his theories of air power to the test, hitting their ground elements with pinprick raids that caused them to disperse their much superior Air Force in a futile attempt to defend everywhere. The odds were so uneven he resorted to rigging machine guns on the undercarriages of his old bombers to make up for the lack of proper fighter escorts. His only modern fighter (a single Hurricane) was kept busy moving from field to field and flying one plane patrols over different sectors each day in an attempt to fool the Italians about his strength. When a supply of ancient (and probably unsafe) 20 lb bombs were found in a warehouse, he had bombers fly over the the Italian positions at night with the crew manually fusing and flinging them out an open door. The 20 pounders were too small to do much damage, but they could ruin the sleep of the infantry.

    Then Collishaw struck with concentrated force, not letting his own squadrons be tied down defending static positions. Despite having to divert planes to Greece and then Crete, he supported the British desert offensive so successfully that the Italian Air Force was almost completely swept from the skies. All for remarkably little loss to his own squadrons.
    Things got tougher when the Germans arrived, of course, but by then Collishaw was approaching fifty – ancient by the standards of wartime command. The reward for his accomplishments was promotion (to the permanent rank of Air Vice-Marshall) and being shuffled off to a quiet command in Scotland. In 1943 he was retired from the service, to spend the rest of the war in the UK as a civil air liaison.

    Retirement

    In 1945 Collishaw and family returned to Canada, laden with decorations and honours: Companion of the Order of the Bath, Officer of the Order of the British Empire, DSO, DFC, Croix de guerre, etc, etc. Unsurprisingly he approached civilian life with the same energy he’d shown in military service. Settling in Vancouver he took up the family business and, for the next two decades, initiated various mineral exploration and mining operations in northern British Columbia. For five years he was president of Craigmont Mines. In 1976 Raymond Collishaw passed away, unknown to most of his fellow Canadians.

    Fortunately, he completed this book before then, in whatever free time his other activities allowed. The Black Fight is a terrific account of a remarkable personality. Amazingly, for a senior officer’s wartime memoir, it is entirely without rancour or score-settling. Collishaw seems to have been that most rare of animals: a hugely successful person who remained utterly humble, self-aware, and at peace with himself. The final paragraph is typical of his tone, so he gets the last word: “I am often asked whether – If I had it to do all over again – I would do it differently. So far as the basic pattern of my life is concerned, I do not think so, although I might try to do everything just a bit better. I must qualify this, though, for my wife may some day read this book. Perhaps, given another chance, I should not wait so long to get married.”

    THUMB UP

  • Spider-Man 2 (2004)

    Spider-Man 2 (2004)

    Manic-Depressive Superhero

    Directed by Sam Raimi; starring Toby Maguire, Kirsten Dunst, Alfred Molina…

    Okay, I was taken in too. Blech.

    After Michael Keaton’s quirky but human performance in Batman (1989), and the character driven drama at the heart of the first Spider-Man (2002), I was ready to believe that comic book movies could be taken seriously as films. That is, they didn’t have to be confined to a genre ghetto, but — as human dramas — could be discussed in the same terms as any other piece of literature.

    Certainly, the original Spider-Man earned its praise for putting character and storytelling before stunts and special effects (though, there were plenty of those too). Toby Maguire made Peter Parker’s journey a compelling one as he grew from nerdy kid to an adult who has to deal responsibly with new and unasked for powers. Throw in some real chemistry with Kirsten Dunst as the girl next door he had always thought was too good for him (but maybe not too good for a super-hero…) and you had a story that could be enjoyed by any audience, not just the usual crowd of teenagers and basement-dwellers. It might be set in a comic book world of spandex-wearing super-heroes, but these were real people we could recognize and identify with.

    If anything, the praise for this sequel has been greater. The few creaky joints in the original have been well oiled: the villain is more interesting and complex, the special effects more seamless, and the plot more elaborate.

    And yet, this bigger and better follow-up doesn’t work for me. A big chunk of the problem is the depressive performance of Toby Maguire (who was such an asset in the first film). He seems to be aiming for angst-ridden-and-interesting but hits flat-and-droopy. Even a loser has to have the odd up moment to contrast his downs, but Maguire is uniformly depressive from beginning to end.

    As Parker mopes about, unable to manage his time well enough to be either a good student or a good superhero (an interrupted delivery to prevent a crime loses him his loser job as a pizza delivery boy), it’s difficult to see what Mary-Jane Watson (Dunst, in another fine performance) could see in him. This relationship, which should be the heart of the film, just isn’t credible. Fortunately, there’s a giant boss battle at the end to resolve Peter’s doubts and relationship problems.

    In other words, we’re back to the world of more and better stunts. Emotional depth proves too hard for the writers this time, so teenage angst has to do. And that’s easily sorted by a few really big explosions. This isn’t so much a film made for teenage boys as one made by teenage boys.

    THUMB DOWN