Crossing Fingers

Ready for Christmas? Those words ought to be outlawed at all times, but especially as it draws towards the 25th of December. I know most people are just making conversation and don’t mean anything by it but under normal circs, doing anything for Christmas? is vastly preferable to the potentially panic-inducing alternative. But! this year I can be frightfully smug because we are in fact ready for Christmas. The food is bought, the cards are sent, the presents are wrapped or posted and the tree is up and lit. Of course it helps that this year things are particularly low-key: apart from my nephew popping over on Christmas Eve we won’t be seeing anyone, and Christmas lunch will be a fairly pared-down affair. We’ve got a few nice snacks and treats and a bottle of wine, but that’s it – we’ve not gone overboard and you know what? It’s actually much better. This year I’ve adopted the attitude that what we haven’t got we can do without, especially bearing in mind that this time next year we’ll probably be dining like Bob Cratchit and family because nothing will get through the stupid borders that this ridiculous government has insisted on negotiating. Oven-ready, my arse!

Deep, calming breaths… and now it’s time for another TV review. If you want to read my past TV reviews you can click the category TV Reviews in the category cloud to the right of this post. Today I’m going to discuss the excellent Steve McQueen series Small Axe comprising five separate stories dealing with the West Indian immigrant experience in the 1960’s. I was reluctant to view them at first because I thought they might be violent or horribly upsetting – the same reason I don’t watch films about the Holocaust – but there was a hopefulness to these programmes which counterbalanced the awfulness of their situation. But in the end what made them watchable was the completely different rhythm of the drama. I spent the first hour of episode 1, The Mangrove, wondering when something was going to happen; life went on, and on, and on; people came to the cafe and left, the police raided it and arrested people, then things went back to normal. This happened over and over until the last hour when a stand-off with police ended in a long trial and ultimate acquittal. The dramas are not all the same length: The Mangrove was over two hours and the trial scene seemed endless, but I think that’s Steve McQueen’s point; he wants you to feel it. He wants you to get inside that experience and know what it’s like, not just by seeing but by living it, in what almost feels like real time. That’s certainly true of Episode 2, Lovers Rock, where nothing at all happens for a whole night. People go to a party. There are men and women and DJ’s with a sound system. And the music. Oh, the music! It gets right into your bones and as the camera goes round and round you start to feel that you’re in the centre of the action, dancing and smooching, going round and round and on and on. There are no real central characters here; the party is the character, the action is the character and the more it goes on the more you start to feel in that dreamlike state that constitutes a good night out. True, in the middle there’s a mini-drama as a man tries to rape a woman in the garden, but he’s discovered, the rape is prevented and the man ejected from the party. It ends with a woman who we’ve sort of vaguely followed walking home with a man she’s met and danced with. They say goodbye, she points to a phone box and says ‘I’ll phone you tomorrow. 5 pm. This phone box.’ Then she climbs in an upstairs window and into bed fully-dressed; a moment later her mum knocks on the door and says ‘Get ready for church!’ And that’s the end.

Other episodes centre on a black man’s attempt to change the police force from within and a black prisoner who is helped by a Rastafarian cellmate to change his life. The final one, which I watched last night, concerns the black child’s experience in education and how they frequently ended up being classed as ESN (Educationally Sub-Normal) and sent to special schools. But here too there is hope as black campaigners infiltrate the school and to compensate for its woeful inadequacies, set up their own Saturday school.

Many things have changed since then but it’s clear to see that racism still exists; all too many police officers see a fist-bump between black men as a drug deal and a black man driving a BMW as a thief. And don’t get me started on this government…

So, after all that, why am I crossing my fingers? Because the car is being MOT’d. For some reason whenever the car goes into the garage I feel as if my whole life is under the microscope being rendered up for inspection. ‘Why did you break the speed limit on 24th November? What were you doing in Doncaster in August? And why haven’t you topped up the water?’ These questions run on in my sub-conscious, but my main concern is getting a phone call saying it’s failed the MOT and needs something huge and horribly expensive done to make it roadworthy again.

Ah well. We’ll cross that bridge when we come to it.

Kirk out

2 thoughts on “Crossing Fingers

  1. Well done, you, and fingers crossed here as well for the MOT. The prospect of an alcohol-free Christmas is heaving into view, especially if I can’t procure any gout medication this weekend [I’ve only been suffering for a whole week, nothing to be concerned about, NHS; yes, I know, Covid…]; not the worst thing that could happen, of course, but I do enjoy an occasional libation, and being alone for the majority of the ‘holiday’ seems a rather drab prospect without the solace offered by a cheeky G&T or bottle of craft beer. Oh well…… Cheers, Jon.

  2. Sorry to hear that Jon. You didn’t fancy whipping the joints with nettles then? I do recommend nettle tea though, and yoga can be very beneficial. You’ll be glad to hear the car passed its MOT – presumably because I’ve hardly driven it this year. With older cars it’s always touch and go

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