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My Addresses: chef Jason Atherton on his favourite London haunts

publish 2022-05-02,browse 6
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he was right, and the telegraph, the telephone, and the postcard have completed the destruction of the art of letter-writing. it is the difficulty or the scarcity of a thing that makes it treasured. if diamonds were as plentiful as pebbles we shouldnt stoop to pick them up. but the case of bill and sam and thousands of their comrades to-day is different. they dont want to write literary letters, but they do want to tell the folks at home something about their life and the great things of which they are a part. but the great things are too great for them. they cannot put them into words. and they ought not to try, for the secret of letter-writing is intimate triviality. bill could not have described the retreat from mons; but he could have told, as he told me, about the blister he got on his heel, how he hungered for a smoke, how he marched and marched until he fell asleep marching, how he lost his pal at le cateau, and how his boot sole dropped off at meaux. and through such trivialities he would have given a living picture of the great retreat. in short, to write a good letter you must approach the job in the lightest and most casual way. you must be personal, not abstract. you must not say, this is too small a thing to put down. you must say, this is just the sort of small thing we talk about at home. if i tell them this they will see me, as it were, theyll hear my voice, theyll know what im about. that is the purpose of a letter. keats expresses the idea very well in one of those voluminous letters which he wrote to his brother george and his wife in america and in which he poured out the wealth of family affection which was one of the most amiable features of his character. he has described how he had been to see his mother, how she had laughed at his bad jokes, how they went out to tea at mrs. millars, and how in going they were struck with the light and shade through the gateway at the horse guards. and he goes on: i intend to write you such volumes that it will be impossible for me to keep any order or method in what i write; that will come first which is uppermost in my mind, not that which is uppermost in my heartbesides i should wish to give you a picture of our lives here whenever by a touch i can do it; even as you must see by the last sentence our walk past whitehall all in good health and spiritsthis i am certain of because i felt so much pleasure from the simple idea of your playing a game of cricket. there is the recipe by one of the masters of the craft. a letter written in this vein annihilates distance; it continues the personal gossip, the intimate communion, that has been interrupted by separation; it preserves ones presence in absence. it cannot be too simple, too commonplace, too colloquial. its familiarity is not its weakness, but its supreme virtue. if it attempts to be orderly and stately and elaborate, it may be a good essay, but it will certainly be a bad letter. on reading in bed among the few legacies that my father left me was a great talent for sleeping. i think i can say, without boasting, that in a sleeping match i could do as well as any man. i can sleep long, i can sleep often, and i can sleep sound. when i put my head on the pillow i pass into a fathomless peace where no dreams come, and about eight hours later i emerge to consciousness, as though i have come up from the deeps of infinity. that is my normal way, but occasionally i have periods of wakefulness in the middle of the night. my sleep is then divided into two chapters, and between the chapters there is a slab of unmitigated dreariness. it is my hour of pessimism. the tide has ebbed, the water is dead-low, and there is a vista of endless mud. it is then that this tragi-comedy of life touches bottom, and i see the heavens all hung with black. i despair of humanity, i despair of the war, i despair of myself. there is not one gleam of light in all the sad landscape, and the abyss seems waiting at my feet to swallow me up with everything that i cherish. it is no use saying to this demon of the darkness that i know he is a humbug, a mere dismal jemmy of the brain, who sits there croaking like a night owl or a tenth-rate journalist. my dismal jemmy is not to be exorcised by argument. he can only be driven out by a little sane companionship. so i turn on a light and call for one of my bedside friends. they stand there in noble comradeship, ready to talk, willing to remain silent, only asking to do my pleasure. oh, blessed be the name of gutenberg, the master printer. a german? i care not. even if he had been a prussianwhich i rejoice to think he was noti would still say: blessed be the name of gutenberg, though sir richard cooper, m.p., sent me to the tower for it. for gutenberg is the prometheus not of legend but of history. he brought down the sacred flame and scattered the darkness that lay on the face of the waters. he gave us the _daily owl_, it is true, but he made us also freemen of time and thought, companions of the saints and the sages, sharers in the wisdom and the laughter of the ages. thanks to him i can, for the expenditure of a few shillings, hear homer sing and socrates talk and rabelais laugh; i can go chivvying the sheep with don quixote and roaming the hills with borrow; i can carry the whole universe of shakespeare in my pocket, and call up spirits to drive dismal jemmy from my pillow

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