The Road to Wigan Pier, read by Jeremy Northam, review

24 Apr

The Jeremy Northam Blog would like to welcome new contributer Amy Cockram, who has reviewed Jeremy’s latest audiobook for us.

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Passing up a horrible squalid side-alley, saw a woman, youngish but very pale and with the usual draggled exhausted look, kneeling by the gutter outside a house and poking a stick up the leaden waste-pipe, which was blocked. I thought how dreadful a destiny it was to be kneeling in the gutter in a back-alley in Wigan, in the bitter cold, prodding a stick up a blocked drain. At that moment she looked up and caught my eye, and her expression was as desolate as I have ever seen; it struck me that she was thinking just the same thing I was.

“Diaries,” George Orwell (edited by Peter Davison)

I like to start my reviews by declaring any bias that I have. That I like and admire the work of Jeremy Northam is no surprise, but I also like and admire George Orwell. I had to teach a seminar on Orwell during an abortive stint as a teaching assistant when I was a student, and this instilled in me an enjoyment of and admiration for his writing (this didn’t always happen; I loathed some things I had to teach). I know Orwell’s most iconic fiction – Nineteen Eighty-Four and Animal Farm – but I developed a personal preference for his journalism and essays. I would recommend his brilliant essay Politics and the English Language to anyone who writes, and I dread to think how many of his guidelines I will probably break in just this one piece of writing. So, given my admiration for Orwell, after Jeremy Northam read Down and Out in Paris and London and Homage to Catalonia – both of which have been reviewed by Gill on this blog – I found myself hoping that he would also read The Road to Wigan Pier for CSA Word. I am very happy that my wish came true.

George Orwell

The event that Orwell described in his diary above is also related, in a slightly changed form, in The Road to Wigan Pier. Orwell’s diary entries from 31st January 1936 to 25th March 1936 record his experiences researching the book, which was first published in 1937. He spent these couple of months in 1936 travelling around the poverty-stricken industrial areas in the North of England, staying in cheap lodging houses and with working-class families, to see the conditions in which people were living and working. Orwell witnesses the gruelling and invaluable  – and yet scarcely valued – work that the coal miner does and comes to admire him more than any other man. What starts as an insight into extreme poverty becomes a tract against the iniquities of the British class system, before evolving into an essay in support of beleaguered Socialism. In its own way it is as political as Homage to Catalonia, but without all the acronyms.

It is interesting to hear and read The Road to Wigan Pier retrospectively, as some of Orwell’s descriptions foreshadow changes – not always for the better – in British society, while other fears have thankfully not come to fruition. The roots of Nineteen-Eighty-Four are clear in his fears over the possible rise of Fascism. Orwell is afraid that words are “feeble things,” ill-suited to adequately convey the misery he witnesses, but his words and Jeremy Northam’s voice together are very powerful indeed.

Orwell finds that the road to Wigan Pier is paved with coal and disappointment. He responds to a critic who accuses him of vilifying humanity:

Mr Orwell was “set down” in Wigan for quite a while and it did not inspire him with any wish to vilify humanity.  He liked Wigan very much – the people, not the scenery.  Indeed, he has only one fault to find with it, and that is in respect of the celebrated Wigan Pier, which he had set his heart on seeing.  Alas! Wigan Pier has been demolished, and even the spot where it used to stand is no longer certain.

The site of Wigan Pier (pictured in 1939)

Orwell is disappointed to find that Wigan Pier is no longer there, but this is nothing compared to people who have been disappointed by life. The young woman whom he sees trying to unblock her drain, fully aware of how destiny has cheated her, is the rule rather than the exception. The road to Wigan Pier is essentially a road to nowhere that leaves people adrift in hopeless poverty. The early chapters are bleak and show the landlord-forsaken, crumbling housing in which many people live.

Jeremy Northam

I would listen to Jeremy Northam read the phone book, as the cliche goes. There are occasions in The Road to Wigan Pier when he is obliged to recite costs of food, rent and housing conditions. I am aware that this sounds dry, but it isn’t. Orwell’s writing is a fascinating historical document which reveals how unbearably harsh conditions were for people living in poverty in the 1930s, and yet, somehow, bear it they did because they saw no better alternative. I have ancestors who were coal miners in Wales, so Orwell’s description of going into the mines was a fascinating and troubling insight into the conditions under which my relations would have toiled.

What, above all, saves this from dryness is the clarity of Orwell’s prose, and the empathy with which he writes about the people he meets. It is clear in his writing that Orwell liked and respected the people of Yorkshire and Lancashire: he doesn’t vilify humanity, but he does condemn the poverty in which they live. Jeremy Northam’s sensitive reading, bringing out Orwell’s anger at conditions and his scathing mockery of middle and upper-class attitudes, is perfectly suited to Orwell’s voice. All bias aside, I cannot think of an actor who would be better suited to bringing Orwell’s prose to life. The Road to Wigan Pier gives Jeremy less opportunity to display his range of accents and comic talent than did Down and Out in Paris and London (which remains my favourite Orwell performance of his). Jeremy Northam gets to do the occasional Northern dialect, but it is mainly George Orwell’s mockery of class prejudice – with which, he admits, he is partially complicit – that gives Jeremy the chance to adopt some snarky posh accents and bring out some humour. Where in Down and Out in Paris and London he had the opportunity to add some broad colour to Orwell’s narrative, here he works in subtle tones and shading.

At the risk of sounding greedy and asking for more, please can Jeremy Northam read Orwell’s Keep the Aspidistra Flying next? Thanks!

Thank you also to Gill for giving me the chance to write a guest post on her excellent blog.

The Road to Wigan Pier audiobook from CSA Word is unabridged (7 hours and 37 minutes, 6CDs). It is available on CD and as a download. You can hear a sample here.

© Amy Cockram, all rights reserved.

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Many thanks to Amy for a great post. I hope it will be the first of many. You can read more from Amy at her excellent blog Stuff and Nonsense.

The Road to Wigan Pier, read by Jeremy Northam

16 Mar

If you enjoyed Jeremy Northam’s excellent George Orwell audiobooks Down and Out in Paris and London and Homage to Catalonia, you’ll be delighted to hear he has recently recorded The Road to Wigan Pier.

If ‘peerless prose’ could apply to one writer alone, I’d accord it to Orwell – The Guardian

From the CSA Word website:

Audible’s ‘LISTEN OF THE WEEK’ - for 12th March

http://www.audible.co.uk

The Road to Wigan Pier is a graphic and biting polemic, peculiarly suited to the medium of spoken word. It charts Orwell’s observations of working-class life during the 1930s in the industrial heartlands of Yorkshire and Lancashire. His critical portraits of the harsh mining conditions and of social inequality, poverty and rising unemployment continue to carry a fierce political relevance, and would inform his major works of fiction, including Nineteen Eighty-Four and Animal Farm.

It is available as a 6 CD set, or as a download (the download is available for UK Audible users only) and is 7 hrs and 37 mins in length. You can hear a sample here.

We’ll be posting a review, so watch out for that.

White Heat is coming soon …

17 Feb

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Paula Milne’s new drama, White Heat, in which Jeremy Northam plays Edward (father of Sam Claflin’s character) will begin on 8 March, BBC 2, and will be previewed on The Review Show, BBC2, 2 March, 23.00.

The BBC Press Office have provided an outline for the first episode (don’t worry, no major spoilers):

Episode One, The Past Is A Foreign Country. Charlotte, an attractive woman in her 60s, arrives at a flat in Tufnell Park.

As a young woman she was one of seven students who lived in the flat, where one of them has recently passed away. Charlotte has been made executor of the will and the remaining five are due to arrive to help her sort through the flat.

As Charlotte starts work, old memories are ignited which return us to 1965, where we meet her as a 19-year-old undergraduate embarking on a journey of discovery, love and life.

We also meet the six other students at he moment they move into the Tufnell Park flat. Charlotte, Lilly, Alan, Jay, Orla, Victor and Jack are full of youthful expectation, forging intense friendships and – in some cases – becoming bitter adversaries, in these first months of living together.

It’s the end of the post-war era, Winston Churchill has died and the world is changing rapidly, particularly for the girls with the arrival of the contraceptive pill. Charlotte and art student Lilly find the strength to defy their parents and fight for the futures they want, but Orla from Belfast is weighed down by the duty that she feels towards her impoverished family in Northern Ireland.

For all the flatmates, mutual and unrequited attractions segue into heady and potentially damaging sexual adventures, planting the seeds of future deceptions.

Finding their feet in a world where none of the old values apply is both empowering and daunting and it becomes clear that the decisions they make during these early months together will change the course of their lives. Charlotte finds herself irrevocably drawn to the volatile and charismatic Jack, a rebel angrily seeking a cause.

As we return to 2012 the older Charlotte is joined at the flat by one of the former flatmates. A bitter betrayal clearly took place between them in the past, and as a third flatmate arrives the complex history between them becomes painfully evident.

Cast: Charlotte (present day) played by Juliet Stevenson, Charlotte (1965-1990) played by Claire Foy, Jack played by Sam Claflin, Lily played by MyAnna Buring, Jay played by Reece Ritchie, Alan played by Lee Ingleby, Victor played by David Gyasi and Orla played by Jessica Gunning.

The first episode recently screened at the BFI to a very positive reception, the BBC tell me.

Here’s Paula Milne to introduce the series:

And an interview with Sam Claflin, featuring a scene with Jeremy Northam (contains strong language).

Interview with Sam Claflin who plays Jack in Wh…, posted with vodpod

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