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    Arts

    The Common Reader

    Literary discussion

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    Copyright: © Henry Oliver

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    Latest Episodes:
    Robin Hanson, interview Jul 04, 2022
    Show notes

    This conversation with economist and late bloomer Robin Hanson probably peaks towards the end, when we were bouncing ideas around, but the whole thing is highly interesting. Robin has a habit of rephrasing questions to make sure he is answering something specific, something I have seen in successful lawyers. Robin talked about his idea for a polymath department in universities, why desperation not inspiration was what made him change his life, how to talent spot late bloomers, and whether Robin might become lazy if he lived for ever (I don’t believe him). We also covered ems, the magic of motivation, signalling, and the importance of having a good spouse. Robin is a professor of economics, a former physicist and AI researcher, and the author of two books. He works at George Mason University and blogs at OvercomingBias. Although we didn’t cover it here, he is very interesting on the subject of aliens. This is a very selective description of what Robin does and you can and should read more about his work here. The page of wild ideas Robins thinks are true is especially good value. This is also a good summary of what drove Robin to change his life in his mid-thirties.Henry Oliver: Did you always wanted to be an economist or are there versions of your life where you could have stayed in AI research?Robin Hanson: I don't know. That is, my trajectory was one where I changed a number of times, and each time I wasn’t sure that I should change, I was making these guesses about what would be better, and then I guessed economics, but under alternative stars, I could have guessed different things or not made changes. A couple of years before I switched and decided to go into Econ, I applied to a bunch of graduate programs in Social Studies and Science, and I got accepted into some. And I even had told them I accepted their acceptance. And then a day later, I changed my mind. I decided not to do that. So I was on the borderline, I guess, of doing that.Henry Oliver: And was that... Were you changing your mind for practical reasons or was there just deep uncertainty about what to do?Robin Hanson: It was more, do I want to go into that world? Is that world going to be good enough or congenial for me? And I initially thought, yes, and then I guess let my subconscious tell me no.Henry Oliver: So it was kind of instinct, you would just get a feeling and think, “Okay, don't go with it.”Robin Hanson: Right, it was like... Part of it is about sort of the size of the world you could inhabit, so one of the nice things about physics where I started, and economics where I ended up is that you could just do a lot of things and call them that, and then there’s some other fields where you’re going to be pretty narrowly confined to things close to the prototype of that. And so science studies is more of that second sort, whereas economics is much broader, and physics was much broader as well. I think that I do well there. I think that’s done me very well to be in a much broader place where I can just do a lot of things and call it economics.Henry Oliver: Do you think that one explanation of why there are late bloomers or how people become late bloomers could be that some people’s talents or interests are just naturally interdisciplinary or broad in the way you're describing, and that there are fewer maps for that kind of thing, and you just will get more late bloomers because it’s not straightforwardly specialized?Robin Hanson: Well, so the question is, if you’re going to have a wider range, does that take longer training or longer time to recognize?Henry Oliver: Right.Robin Hanson: So, certainly, if most standard training is somewhat narrow, and if you’re going to have a broader range than that, then you’re deviating from the usual thing, and you might in fact need to do several things... So I guess somebody who’s just more uncertain about what narrow thing they want to do might similarly take longer, but somebody who’s just more inclined to have a wider range, that also just might take longer both to figure out that that’s what you want and to realise that the wider range just means you’re going to take longer training for the wider range.Henry Oliver: So in one interview you said this, “Early in life you're a seller not a buyer.” Can you tell us what you mean by that?Robin Hanson: Well, many people think about what career they want and what life they want, as if they are the main consumer of it, as if it’s about what they want out of it, and when you’re independently wealthy, say, then you could just decide what you wanted to do with your life based on what you liked because you can pay for it. If it’s a job or a career and you need a job or a career to survive, then you can’t just look at what you might want to get out of it, you’ll have to have other people get something out of it. And so that’s the sale that you’re selling yourself to other people. What can they get out of you? So you want to keep an eye on what you want to get out of it, but it isn’t enough, you know, if you decide, I love singing, so I’m going to be a singer. Well, that may not work if the world doesn’t love your singing, you’ll need to pay attention to what the world likes from you, for a while at least, and then if you get some idea of a range of things the world might be okay with from you, then you can start to think about which of those you prefer.Henry Oliver: And this was the sort of thing you were realising when you worked at NASA?Robin Hanson: So... I mean, honestly, for my early life, I really wasn't paying attention to buyers, I was just paying attention to what I wanted, and I would just change my mind about what I wanted, and then I would see if anybody else would let me do that, and if somebody else would, then I just switched. But I didn't try to become a singer or actor or something where it’s sort of known to be much more competitive, or Olympic athlete or something else, I wasn't trying to be those things, but I was maybe more on the edge of what I could get away with.Henry Oliver: But you were doing something pretty competitive?Robin Hanson: Well, initially, I was just being a grad student and applying to various grad student programs, and so I guess I was good enough to get into the grad student programs, and then I wanted to do computer research, and so I went, asked, applied for jobs and I got some jobs, and so it's more competitive than being a janitor, I guess but...[laughter]Robin Hanson: Not as competitive as trying to be an actor or a musician.Henry Oliver: This is the sort of thing that people often advise you to do, so it’s like the Steve Jobs thing like, “Do calligraphy, do whatever you feel like, and it'll all sort of work out and you'll pull the threads together later,” but you seem to be saying, “Well, it’s one way of living a life, but it’s maybe not a good way.”Robin Hanson: Well, you have to make a judgment of just how selective something is and how selective you are, right? It’s a matching thing, so I don't think... I mean, so I think it’s basically a brag to tell everybody that I always just did what I wanted. I mean, because some people can get away with that, and you’re basically saying, “I was good enough to get away with that, I could do that, I could pull it off, because I was in high enough demand, I was good enough.” And so I... It is a brag and it does apply to some people, but you have to realize, if you’re just taking it as some sort of inspiration and attitude toward life advice, it’s not going to work for everybody, and so... Now, you’ll have to ask just how good are you and how lucky do you feel punk, about how selective you can be. So, for most people, say, who might be listening to this, they don’t have to just take the first job that appears to them, right? They have some ability to select among jobs out there, and they should use that ability to think about which things they would like better, but they can’t just ask, “What does my heart love?” And just do that, regardless of what the world seems to offer or what abilities they seem to have, and so that it’s a compromise.Henry Oliver: If you were talent spotting or recruiting, and someone came with a CV a bit like yours, and they said, “Well, I’ve just been doing the stuff I wanted to do,” would this count against them, would this count in their favour, like how would you assess that now?Robin Hanson: So in some sense, the person I would be most able to assess would be someone who is very like me, that is, when I take a very unusual life path, I’m just going to be much worse at judging people who took other life paths, I’m not going to know who’s good or not in those other paths, someone who is near my path, I have a better shot at, and for people who look like that path, I guess the thing I would most be looking for is sort of how driven or passionate are they, because you meet a lot of people who switch between various things they want to do, and it seems almost like that they just don’t have much motivation or interest in anything, and they’re just sort of drifting past things that might grab their attention, and that wouldn’t inspire... That wouldn’t inspire much confidence in me. So somebody who just changes things a lot just because they’re bored or nothing seems to matter, nothing seems to interest them, that... I would be wary of that, they probably will switch yet again, they probably won’t put that much energy into whatever they do, but somebody who is... Whatever they’re doing, they’re really into it, and they’re really trying hard, but then they also have these other big things that target them and tempt them away, that would be more appealing.I would want to see that it was a whole bunch of things, each of which they would love to do, but they are... Can’t be sure which one, but whichever one they pick, they will be into it and they will be really immersing themselves into it and pursuing it, then that would be better, and then of course, that... They are much more likely to be a good generalist or a wide range person. So some people call themselves generalists just because they can’t be bothered to get into anything very far, and I would want to distinguish a different kind of generalist. So I’ve had this idea for a while, I'll tell you, which is, you might say universities neglect generalists, right? So we reward people for being very specialised and knowing the best about some very narrow area, but a lot of great things have happened by people who have been in different areas, and so how could we reward and pick out generalists, and so here’s... So, a problem is a lot of interdisciplinary areas where you have more than one area, people look down on them, it looks like you’re being held to lower standards than you would in either the adjacent disciplines and that you’re trying to evade judgement by making it hard for people to tell how good your work is, and so people tend to think that people in the middle of a discipline are more reliable and higher quality work because they're being held to higher standards and it’s easier to judge them.And so they think of people who are being interdisciplinaries kind of evading judgement, trying to slip by with making it hard to judge them, so my solution to that is to try to create a polymath department where we’re going to have higher, not lower standards. So my standard would be, let’s make a department and in order to qualify for this department, you need to persuade us that you would have qualified for tenure in two departments, and I’ve known people like that, and I might even qualify that way, it’s not necessary that you actually have to have tenure in two departments, but persuade us that you could have possibly gotten tenure in two departments, and two somewhat different departments.Henry Oliver: Right.Robin Hanson: Right? Not in Biochemistry and Chemistry or Biology.Henry Oliver: Yeah, yeah, yeah.[laughter]Robin Hanson: But, two substantially different things. So now, you see, this department would be the elite, you will have to meet a higher standard to be there, and now people might aspire once they have gotten tenure somewhere to, as a next level, become considered a polymath to have gotten to move up. And then I think this would go better in terms of, it would have more respect, it would be more acceptable, and it would then inspire more people to that level of generality by holding it as a higher, not lower, standard.Henry Oliver: And you would expect maybe more of those people to be “late bloomers”, because they would have had to be... They're just doing more different things and not settling into something earlier on, right?Robin Hanson: Maybe, I’m not so sure. I’m more sure that they would have to sort of just be inclined toward generality, so definitely a lot of people managed to focus enough to get tenure and then don't want to focus quite so much, and so we would be tempting those people to say, “Yeah, it looks like you got tenure in here but now you'd want to drift over there, well, that can contribute to what we're looking for.” Maybe even departments would be proud of their members who had graduated to the polymath division, and they would then support you in your efforts to broaden or to make that next step.Henry Oliver: One of the models I have of different sorts of late bloomers is someone who has a double peak, so if you think about Frank Lloyd Wright, the architect, he has a great career. By the time he’s 40, he’s done some original staff, he has a successful practice and whatever, but then by the time he’s 60, like it’s all dried up, he’s teaching apprentices, he’s not fashionable, the Great Depression is happening, he’s not getting any commissions, and then a few years later, he starts again, and he builds Fallingwater, and then in the last, I think, quarter of his life, he does more than half his work, including the Guggenheim and other major things. This could be something in the polymath department, like, it would encourage that view of a second career.Robin Hanson: Although, in that case it might be, he didn’t actually go to a separate department, he stayed in his general area.Henry Oliver: Sure.Robin Hanson: We would still might want to wait to anticipate and celebrate that, so it’s definitely true that... I mean, I meet a lot of people who, maybe they’re 22 years old and they got a college degree and they said, “Oops, it was the wrong degree. My life is over, I wasted…”[laughter]No, your life... You're still at the beginning, you have a lot, you can just pivot and move over there, it’s not that much of a problem, you’re a little delayed compared to some of the other people who might have started their path before, but you’ve got plenty of time. And so I think a lot of people like... They have some sort of career path and they reach some sort of threshold like say tenure, and then they quit, like that’s enough for them, and they’ve achieved what they wanted, and... But they might be 30 years old or something, and in some sense, they’ve got a whole life ahead of them, they could try lots of other stuff.Henry Oliver: So you went to get your PhD starting age 34?Robin Hanson: Yes, with two children, age zero and two.Henry Oliver: Oh my God. You’ve sort of talked about this, but I’m interested in what finally tipped the balance, and it sounds like it was a kind of gradual process and that this was the straw that broke the camel’s back, but was there a sort of conversity to that, like a moment of inspiration, a moment of, “You know what, if I don't do it now…”Robin Hanson: It was more desperation I would think than inspiration.[laughter]Robin Hanson: So basically, I was a research programmer in a... Which is a low level position within a research lab, so research lab is a high level prestigious place, but a research programmer is kind of the bottom of the line, someo…

    Full show notes at the publisher

    Sarah Harkness, late bloomer Jun 06, 2022
    Show notes

    It was such a pleasure to talk to Sarah Harkness. Sarah is a former partner at Arthur Andersen who had a career in corporate finance and then as a non-executive director. She is now a literary late bloomer. She has self-published a book about the Victorian artist Nelly Erichsen. She has an MA in Biography from the University of Buckingham, where she studied with with Jane Ridley. She won the Tony Lothian Prize, 2022. And she is now writing a biography of the Victorian publisher Alexander Macmillanand his brother which will be published next year. We talked about Sarah’s career, her long-held ambitions, what she learned from corporate finance, her views on talent spotting, Alexander Macmillan, how Sarah would try to discover other late bloomers lurking in the wrong jobs, and why a business career helps you to understand Victorian literature.Being a Late Bloomer and Alexander MacMillanHenry: Are you a late bloomer?Sarah: My husband says I should be very annoyed at that question because he says I've been marvellous all along. I think I'm a late bloomer if in the blooming bit, which is that I'm now doing something that makes me really unconditionally happy, whereas before I did a lot of stuff that was sometimes important and sometimes well paid, but I never enjoyed it half as much as what I'm doing now.Henry: So, let's start with just briefly, what are you doing that makes you really happy now?Sarah: I have a contract to write a book that a proper-publishing house says they're going to publish. So I'm writing a biography, a double biography called The Brothers of Daniel and Alexander Macmillan, who founded MacMillan publishing 180 years ago. And it's taken me a while, but I've got an agent and I've got a publishing contract, and I need to submit a manuscript in the next eight months, and it will come out in 2024 all being well. And that's making me very happy.Henry: Good, and that's the grandfather or great-grandfather of the prime minister?Sarah: Daniel is the grandfather of the prime minister, and Alexander, who's the one who really built the business after Daniel died, is his great uncle.Henry: So an interesting family for more than just their business interests.Sarah: Yeah. And I mean, fantastic achievers themselves because Daniel and Alexander were born into absolute poverty on the West Coast of Scotland. Their father was a carter, who died when they were young boys. Daniel left school at 10, Alexander when he was 15. And by the mid-1860s, Alexander is one of the literary hosts of London, and within two generations, they have an offspring who will be prime minister and married into the Duke of Devonshire’s family, it's quite a climb.Henry: So, what we're talking about, this is really the Victorian self-made man?Sarah: Absolutely. Samuel Smiles and all his glory, absolutely.Henry: Yeah, yeah, we love Samuel Smiles.Sarah: Yeah, same.Henry: So, where does your interest in that type of subject or person come from?Sarah: Well, there's a basic love of all my period, of all the periods of history and all the periods of literature, Victorian times would be absolutely bang on is what I know most about. I'm very comfortable working in that time, and I love the books and the poetry from that time. The way I found it was very serendipitous, which was that my husband collects art and had found a lot of art by a big, very unknown Victorian woman painter. And I researched her life, and the more I researched it, the more I thought I need to write this down, and it turned into a book that no one would publish, but people said to me, "Write about someone we've heard of and come back to us," and that's a really hard question because almost everyone you've heard of has got a book. That's why you've heard of them, but I had a stroke of luck, which was literally in the research on the book about... The artist is called Nelly Erichsen, and in my research on her, she was a neighbour of the MacMillan family in South London in the 1870s, and related by marriage, sort of in a hop and a skip to the MacMillan family, so she knew the MacMillans, she stayed with the MacMillans. And I did research the MacMillan family to write about Nelly, and there wasn't a book, there haven't been a book since the 19... Since 1940. So there was an opening to do a book because most people have heard of MacMillan Publishing, most people would think it was interesting to understand how that had been started and no one has written about it for 80 years. So that was the stroke of luck, I think.Henry: So it comes from a kind of a long-term immersion in the period and a very indirect discovery of the subject matter?Sarah: It does, it does. I mean, I have been talking about Nelly Erichsen and her bit of Tooting where she lived and the people that she knew for, gosh, nearly 20 years now, so I mean it is a long immersion, but it took me a very long time to have confidence to show anyone what I was writing about it.Early interest in VictoriansHenry: Yeah. And that if we go back 20 years, is that where you start sort of reading and working on this?Sarah: Yes.Henry: Or had you been reading about the Victorians from earlier?Sarah: I think that... I mean, I did PPE at Oxford, but my favourite paper and finals was Victorian social political history, so the 1860s is bang on the period. I think all the time I was working and having a career, I was reading my way through Trollope and Dickens and George Eliot, so... And Tennyson. So that in that way, and it's the sort of art I like, so it is definitely my spot, but I had never thought about researching online, finding out about anyone and writing it down until, yeah, 15 years ago when I started doing that.Henry: But when you started doing that, you'd actually had years of reading the novels, being immersed in the period, it goes back, you were ready, you weren't just coming to this out of nowhere?Sarah: Yes, I wasn't, I wasn't. And it does remind me that about... Well, it was at the time when my children were babies, I wanted to give up work and study Victorian literature. I mean, I felt then that it was something I wanted to do, and I had an idea of writing... The book that inspired me was some Anthony Trollope’s The Way We Live Now.Henry: Fantastic book.Sarah: And I was fascinated, yeah, fascinated by the Melmotte character and I wanted to do an MA or something that would allow me to write, to use the knowledge I had at the city today against what was Trollope writing about, I thought that would be interesting. So I have thought about it 25 years ago, and that had to absolutely no encouragement from anyone to do anything about it. So I didn't, I kept working, but it's funny that that's almost where I've ended back up, which is looking at Victorian literature.Henry: Yeah, it's like a... It's a deep vein that runs through your life and now it's come to the surface.Sarah: It is, it is, absolutely.Sarah in the City: business expertise as a literary advantageHenry: So, you've hinted it that you did PPE, you were in the city, tell us, because you were already blooming before, you are not a late bloomer, you're a repeat bloomer, tell us what was happening when you weren't being a Victorian writer.Sarah: So, I went from Oxford into the city into a corporate finance house that was part of NatWest Bank, so we call that NatWest markets, and I did corporate finance, so flotations, mergers, takeovers, raising money from 1983 right the way through to 1990s. In the 1990s, I left London and moved up to Yorkshire, but I kept working. And at that point, I had small children, so I was working three or four days a week, working in Leeds doing corporate finance. And then there was a big excitement in 1998 because I left NatWest and took my team into Arthur Andersen, which at the time caused a bit of a fuss and a bit of a stir. And I had three or four... Four years at Arthur Andersen. And then Arthur Andersen went into liquidation. And at that point, I'd been doing corporate finance for nearly 20 years and I'd had enough of it, and there were a lot of young and unpleasant young men coming up who didn't think that women in their 40s with children should be stopping them doing what they wanted to do. So I did head-hunting for a little while, and then I started becoming a non-executive director, so I became plural. And I'm still plural, I still do trustee jobs, and audit jobs, non-executive director jobs.Henry: So you, in three different ways, at Arthur Andersen, and then as a head-hunter, and then as a non-exec, you've actually been a senior person. You've been running an area of a business, you've had that kind of oversight?Sarah: Yeah.Henry: Does this help you... You've got the background reading Trollope and understanding the character of Melmotte, but you've also got the background as actually a business person. So when you look at someone like MacMillan, if you hadn't done that career, you would have had less insight. Do you sort of...Sarah: I think that's right, I think that's right. I've spent some time in the archives just the other week looking at the partnership deeds from when he set the business up. I've looked at... There had to be a court case in Chancery when Daniel's widow died because she died in testate and there was a risk that the partnership would have to be dissolved and split around his children. So to me, that makes sense. The big risks that he takes, like moving from Cambridge to London, and then at the moment, I'm really interested in him opening an office in New York, which he did in 1869. I mean to me, that is about a business risk. And then, this little small bit. So at the time when I was running an office in Leeds, I was very conscious of how vulnerable you feel when you are not in the head-office, when you are running a satellite. And I've been reading this week, the letters coming back from New York to London, from the poor chap that Alexander sent out to New York. And I can... I mean, I could have written those letters, you know, "Just tell me what's going on?" "What are your plans?" "What do you mean your son's coming to work here?" "Is that alright? Is that a good sign?" And so that to me is business as well, so I do recognise a lot of it.Henry: Yeah, that's a timeless problem, especially in big-business today, right, global businesses?Sarah: It is, it is. "How do you make everyone feel equally important?" and, "How do you manage something that's the other side of the ocean?"Henry: So your book will be interesting, not just from a sort of literary and social-history perspective, but for people in business or people trying to understand how to be a manager.Sarah: I hope so, I hope so. Alexander did an enormous amount all on his own, but as I move on, he's going to start running a more complex business. And I haven't really gotten into that yet. He's got one partner and he's just set up, sent someone to New York. But it will become more interesting. And then, how he's gonna bring the sons and nephews into the business, is gonna be fascinating. Because they didn't all want to come in at the same time and he's got to manage that as well. So it is a business book.Henry: So he's a sort of... He's a great publisher with an eye for a book, he's a great businessman who can cut deals and manage money, and he's also important as a people manager.Sarah: He is, he is, and seems to manage that well. Other firms are not nearly as successful as MacMillan, avoid the wrong people. He never really gets anything... The big calls, he doesn't get them wrong. He never has a big failure. If he launches a magazine, he goes on supporting it, it survives. If he launches an office in New York, it becomes... MacMillan, New York, becomes bigger than MacMillan, England. He doesn't make bad calls, he is a good manager.Henry: And where does that come from? Because he grew up... He did not grow up around business people. Where does that come from?Sarah: He certainly didn't, he certainly didn't. I don't know, that's really interesting. I mean, I think he was much more entrepreneurial than his brother was. The business really takes off when Daniel dies. Daniel was driven by a Christian missionary spirit. He was driven by Christian socialism, he wanted to bring good-quality and religious literature to the masses and the working man. And he saw it as... He wasn't well enough to go to India, so this was his mission. Alexander goes along with that and is fascinated by the Christian socialist side, but he also wants to make money. And I think some of it might just be, you know... He wakes up one day in 1857, and suddenly he's responsible for eight children, his wife, and a widow, people who work for him. He really has to grip it or he'll sink. And he grips it. But how and why? Apart from sheer bravery, I don't know how he got to do that. He didn't have any models, he wasn't being mentored by anyone else in the industry, they all saw him as a Scottish upstart. So there's one guy he talks to who's a publisher in Edinburgh called MacLehose, but he becomes much more successful than MacLehose.Henry: Was he a late-bloomer?Sarah: Alexander? So when Daniel dies, he... How old is he? He's nearly 40, he's nearly 40. And up until then, yes, he's been the second fiddle in the business. He's had a ton of energy. I mean, if you research him, he's living in Cambridge, running a shop in Cambridge, but he's also... He's on the board of the Working Men's College that they establish. He's doing stuff with the YMCA in Cambridge. He's a parish overseer. He has a ton of energy, and he talks about... You know, he was up reading throughs till 2:00 in the morning, and he was up again at 6:00 to get a train to London. His wife must have been pulling her hair out, I would think. [laughter] So he was a man of phenomenal energy, and not good health, he suffered badly from sciatica and various other problems. He was sometimes frustrated with pain, but he never gave up. He's quite a hero.Henry: Yeah, he is. He sounds really interesting. I'm really looking forward to this book. So, I want to go back over your... We've had the summary of your life. I want to get into some details because it's really, really interesting how you kept to yourself those interests and ambitions for so long, and obviously lots of people do that. Lots of people leave university and they've got a thing that they really, they're passionate about, but they end up as an accountant or whatever, and it just sort of slowly dies, or they realise they're not quite as interested as all that, or life gets in the way, or they have kids. Why didn't it go away for you? Because when you were a senior at Arthur Andersen, you were pretty busy, right?Sarah: Yeah, and I don't think, if you'd said to me... If you had said to me when I was a senior at Arthur Andersen, "Would you still like to write a book?" I just said, "Don't be daft, of course not." [laughter] But my huge frustration with Andersen, and I had some mentoring at the time from a coach who said to me, "The problem you have is that you have a person who needs choice and the more involved in one particular job you get, the more you push, get pushed down a tunnel, the less happy you will be, Sarah, because you like to wake up every morning and you think, I'm gonna do something different today. What am I going to do today? What am…

    Full show notes at the publisher

    Helen Lewis interview Apr 18, 2022
    Show notes

    Before we get started… Writing elsewhereI have recently written about modern Russian literatureforCapX, as well Victorian YIMBYs and Katherine Mansfield and 1922, for The Critic.Tours of LondonSign up here to get updates when we add new tour dates. There will be three tours a month, covering the Great Fire, Barbican, Samuel Johnson and more!Helen Lewis is a splendid infovore, which is how she has come to be one of the most interesting journalists of her generation. You will see in this conversation some of her range. We chatted before we recorded and she was full of references that reflect her broad reading. She reminded me of Samuel Johnson saying that in order to write a book you must turn over half a library. I recommend her book Difficult Women to you all, perhaps especially if you are not generally interested in “feminist” books. Helen is also working on a new book called The Selfish Genius. There’s an acuity to Helen, often characterised by self-editing. She has the precision — and the keenness to be precise — of the well-informed. She was also, for someone who claims to be a difficult woman, remarkably amiable. That seeming paradox was one of the things we discussed, as well as biography, late bloomers, menopause, Barbara Castle, failure, Habsburgs and so on... I had not realised she was such a royal biography enthusiast, always a good sign. Helen’s newsletter, by the way, has excellent links every week. It’s a very good, andfree, way to have someone intelligent and interesting curate the internet for you. Her latest Atlantic feature is about defunct European royals who are not occupying their throne. Let’s hope one of Helen’s screenplays gets produced…(I do not know, by the way, if Tyler Cowen would endorse the reference I made to him. I was riffing on something he said.)[This transcript is too long for email so either click the title above to read online or click at the bottom to go to the full email…]Henry: Is Difficult Women a collective biography, a book of connected essays, feminist history or something else?Helen Lewis: Start nice and simple. It was designed as the biography of a movement. It was designed as a history of feminism. But I knew from the start I had this huge problem, which is that anyone who writes about feminism, the first thing that everybody does is absolutely sharpens their pencils and axes about the fact that you inevitably missed stuff out. And so I thought what I need to do is really own the fact that this can only ever be a partial history. And its working subtitle was An Imperfect History of Feminism, and so the thematic idea then came about because of that.And the idea of doing it through fights, I think, is quite useful because that means that there was a collision of ideas and that something changed. You know, there were lots and lots of subjects that I thought were really interesting, but there wasn't a change, a specific "We used to be like this, and now we're like this," that I could tie it to. So I don't think it is a collective biography because I think there's no connection between the women except for the fact that they were all feminists, and to that extent, they were all change makers. And I've read some really great collective biographies, but I think they work best when they give you a sense of a milieu, which this doesn't really. There's not a lot that links Jayaben Desai in 1970s North London and Emmeline Pankhurst in 1900s Manchester. They're very disparate people.Henry: Some people make a distinction between a group biography, which is they all knew each other or they were in the same place or whatever, and a collective biography, which is where, as you say, they have no connection other than feminism or science or whatever it is. Were you trying to write a collective biography in that sense? Or was it just useful to use, as a sort of launching off point, a woman for each of the fights you wanted to describe?Helen Lewis: I think the latter because I felt, again, with the subject being so huge, that what you needed to do was bring it down to a human scale. And I always feel it's easier to follow one person through a period of history. And weirdly, by becoming ever more specific, I think you'll have a better chance of making universal points, right? And one of the things that when I'm reading non-fiction, I want to feel the granularity of somebody's research which, weirdly, I think then helps you understand the bigger picture better. And so if you take it down all the way to one person, or sometimes it's more... So Constance Lytton and Annie Kenney, that's sort of two people. I think probably Constance is bigger in that mix. It helps you to understand what it's like to be a person moving through time, which is what I wanted to kind of bring it back. Particularly, I think, with feminism where one of the problems, I think, is when you get progress made, it seems like common sense.And it's one of the things I find I love about Hilary Mantel's, the first two of that Thomas Cromwell trilogy, is there is a real sense that you don't know what's going to happen. Like the moment, the hinge moment, of Anne Boleyn's star appears to be falling. It's very hard not to read it now and think, "Well, obviously that was destined to happen. You'd obviously jumped ship to Jane Seymour." But she manages to recreate that sense of living through history without knowing the ending yet, right? And so maybe you should stick with Anne Boleyn. Maybe this has all just been a temporary blip. Maybe she'll have a son next year. And that's sort of what I wanted to recreate with feminism, is to put you back in the sensation of what it is to be like making those arguments about women having a vote at a time when that's seen as a kind of crackpot thing to be arguing for because obviously women are like this, obviously women are delicate, and they need to be protected. And when all of those arguments... Again, to go back to what it's like to just to live in a time where people's mindsets were completely different to... Which is to me, is the point of writing history, is to say... And the same thing about travel writing, is to say, "Here are people whose very basis, maybe even the way that they think, is completely different to all of your assumptions." All your assumptions that are so wired so deeply into you, you don't even know they're assumptions. You just think that's what consciousness is or what it is to be alive. And that's, I think, why I try to focus it on that human level.Henry: How do you do your research?Helen Lewis: Badly, with lots of procrastination in between it, I think is the only honest answer to that. I went and cast my net out for primary sources quite wide. And there was some... The number of fights kept expanding. I think it started off with eight fights, and then just more and more fights kept getting added. But I went to, for example, the LSC Women's Library has got a suffragette collection. And I just read lots and lots of suffragette letters on microfiche. And that was a really good way into it because you've got a sense of who was a personality and who had left enough records behind. And I write about this in the book, about the fact that it's much easier to write a biography of a writer because they'll fundamentally, probably, give you lots of clues as to what they were thinking and doing in any particular time. But I also find things that I found really moving, like the last letter from Constance Lytton before she has a stroke, which has been effected by being force fed and having starved herself. And then you can see the jump, and then she learns to write again with her other hand, and her handwriting's changed.And stuff like that, I just don't think you would get if you didn't allow yourself to be... Just sort of wade through some stuff. Someone volunteered to be my research assistant, I mean I would have paid them, I did pay them, to do reports of books, which apparently some authors do, right? They will get someone to go and read a load of books for them, and then come back. And I thought, "Well, this is interesting. Maybe I'll try this. I've got a lot of ground to cover here." And she wrote a report on a book about… I think it was about environmental feminism. And it was really interesting, but I just hadn't had the experience of living through reading a book. And all of the stuff you do when you're reading a book you don't even think about, where you kind of go, "Oh, that's interesting. Oh, and actually, that reminds me of this thing that's happened in this other book that's... Well, I wonder if there's more of that as I go along." I don't think if you're going try and write a book, there is any shortcut.I thought this would be a very... I'm sure you could write a very shallow... One of those books I think of where they're a bit Wikipedia. You know what I mean. You know sometimes when you find those very 50 inspirational women books, those were the books I was writing against. And it's like, you've basically written 50 potted biographies of people. And you've not tried to find anything that is off the beaten track or against the conventional way of reading these lives. It's just some facts.Henry: So biographically, you were perhaps more inspired by what you didn't want to write than what you did.Helen Lewis: Yeah, I think that's very true. I think writing about feminism was an interesting first book to pick because there's so much of it, it's like half the human race. It's really not a new subject. And to do the whole of British feminism really was a mad undertaking. But I knew that I didn't want to write, "You go girl, here's some amazing ladies in history." And I wanted to actually lean into the fact that they could be weird or nasty or mad. And my editor said to me at one point, and I said, "I'm really worried about writing some of this stuff." She said, "I think you can be more extreme in a book," which I thought was really interesting.Which I think is also very true in that I also feel like this about doing podcasts is that I very rarely get in trouble for things I've said on podcasts because it's quite hard to lazily clip a bit of them out and put them on Twitter and toss the chum into the water. Right? And I think that's the same thing about if you write something on page 390 of a book, yeah, occasionally, someone might take a screen-grab of it, but people hopefully will have read pages 1-389 and know where you're coming from, by that point.Henry: Maybe trolls don't read.Helen Lewis: Well, I think a lot of the stuff that annoys me is a shallow engagement with complexity, and an attempt to go through books and harvest them for their talking points, which is just not how... It's just such a sad, weathered way of approaching the experience of reading, isn't it? Do I agree with this author or not? I like reading people I disagree with. And so for example, the fact that I call the suffragettes terrorists, and I write about that, I think people are reluctant to engage with the fact that people you agree with did terrible things in the pursuit of a goal that you agree with. And I think it's very true about other sectors. I always think about the fact that Nelson Mandela was imprisoned for terrorism. And that gets pushed down in the mix, doesn't it? When it all turns out that actually, he was a great man. And that incredibly long imprisonment in Robben Island is its own totemic piece of the history of modern South Africa, that you don't wanna sit with the awkward bits of the story too.Henry: You've had a lot of difficult experiences on Twitter? Would you have written this book if you hadn't lived through that?Helen Lewis: I think that's a hard question to answer. I tried not to make it a “Here is the cutting of all my enemies.” And actually, my friend, Rob read this book in draft and he insisted that everyone I knew that I was going to argue with had to be of sufficient stature to be worth arguing with. He's like, You cannot argue with, I think I put it in my drawing piece, a piece like Princess Sparklehorse 420. Right? That's quite hard when you're writing about modern feminism, because actually if you think about what I think of as the very social justice end of it, right? The end of it, that is very pro sex work, very pro self-identification of gender, very pro prison abolition, police abolition, it's actually quite hard to find the people who were the theorists of that. It's more of a vibe that you will find in social media spaces on Tumblr, and Twitter and other places like that. So trying to find who is the person who has actually codified all that and put that down to then say, "Well, let's look at it from all sides", can be really difficult. So I did find myself slightly arguing with people on Twitter.Henry: I'm wondering more, like one way I read your book, it's very thought-provoking on feminism, but it's also very thought-provoking just on what is a difficult person. And there's a real thing now about if you're low in agreeableness, that might mean you're a genius, like Steve Jobs, or it might mean you're a Twitter troll. And we have a very basic binary way of thinking about being difficult. And it’s actually very nuanced, and you have to be very clever about how to be difficult. And in a way, I wondered if one of the things you were thinking about was, well, everyone’s doing difficult in a really poor way. And what we need, especially on the left, is smart difficult, and here is a book about that, and please improve. [chuckle]Helen Lewis: Yeah, there was a lot of that and it's part of the sort of bro-ey end of philosophy is about maybe women have been less brilliant through history because they're less willing to be disagreeable, they have a higher need to be liked, which I think is kind of interesting. I don't entirely buy it. But I think there's an interesting thing there about whether or not you have to be willing to be iconoclastic. The thing that I find interesting about that is, again, there's another way in which you can refer to it, which is the idea that if you're a heretic, you're automatically right.Henry: Yes.Helen Lewis: And there's a lot of...Henry: Or brave.Helen Lewis: Or brave, right? And I think it's... You can see it in some of the work that I'm doing at the moment about the intellectual dark web being a really interesting example. Some of them stayed true to the kind of idea that you were a skeptic. And some of them disbelieved the mainstream to the extent that they ended up falling down the rabbit holes of thinking Ivermectin was a really great treatment for COVID, or that the vaccines were going to microchip you or whatever it might be. And so I'm always interested in how personality affects politics, I guess. And yeah, how you can be self-contained and insist on being right and not cow-tow to other people without being an a*****e is a perpetually interesting question. It's coming up in my second book a lot, which is about genius. Which is sort-of the similar thing is, how do you insist when everybody tells you that you're wrong, that you're right. And the thing that we don't talk about enough in that context, I think Newton is a very good example is that, obviously, he made these incredible breakthroughs with gravity and mathematics, and then spends literally decades doing biblical chronology and everyone tel…

    Full show notes at the publisher

    Charles Moore interview Mar 01, 2022
    Show notes

    I was very pleased to talk to Charles Moore, who I have read admiringly for many years. His three volume biography of Margaret Thatcher is one of the most interesting biographies published in the last few years. He also edited a volume of T.E.Utley’s journalism. In this discussion you will hear (or read the transcript below!) whether Margaret Thatcher is more left-wing than we think, what Charles thinks of political biography, how his footnotes work, who are the most underrated Thatcher cabinet ministers, the relationship between fiction and biography, why he’s not a natural Thatcherite, and more. I asked a lot of my questions much less elegantly than I had written them, but the answers are frequently models of spoken English. I particularly enjoyed Charles’ use of “jealous” in its original, perhaps now semi-archaic, meaning (i.e. suspiciously vigilant or careful). He also seems to use “cunning” in the way Johnson defined it, pleasingly. I remember reading once how much Charles enjoyed the language of the Book of Common Prayer as a child. Perhaps those lexicographical waters run deep. The transcript is lightly edited for intelligibility. You will notice, sometimes, that the transcript moves from past to present tense when Charles talks about Margaret Thatcher. Here, as elsewhere, he often refers to her in the present tense. One topic we didn’t cover was Margaret Thatcher as a late bloomer. Maybe another time.Henry: You once wrote that you found political biography boring to read, or you used to. Why did you find it interesting to write?Charles Moore: I think making one's own enquiries makes you think about it more deeply, which is intrinsically interesting. But also I think the subject, Mrs. Thatcher, is a particularly interesting person because she was very unusual and because she was the first and, effectively at the time, only woman. And so everything's different. And so the impact of her is very strikingly different from that of even very well-known male politicians.Henry: And do you enjoy reading political biography more now that you've written your book?Charles Moore: I don't find that I do read it more, particularly. But probably the answer's yes because I can understand more how the work is done. And therefore, I can see who's good at it and who isn't, and when they're evading a subject they don't understand or whether they've really got to the bottom of it and so on.Henry: How do you assess that? What sort of things make you think that someone's really got a grip on what they're telling you?Charles Moore: Partly it's their mastery of the sources, of course. And also, it's a matter of, to some extent, perceiving their fairness. And I think that's quite an interesting subject, because fairness doesn't mean, necessarily, that you're neutral about the person. You can be highly sympathetic to the subject, or you can be even unsympathetic to the subject and still be fair. But fairness is something about considering the evidence and trying to give it its right weight. This, I think, is easily detectable in biographies. And some just don't do that. They wish to assassinate the character, or they wish to make a hero of the character, or they're simply rather lazy. If you've walked down that path, you can detect what's going on.Henry: What parts of Margaret Thatcher's life did you find it most difficult to be fair about?Charles Moore: Well of course, I wouldn't be the best judge of that, I suppose.Henry: Were there any bits, though, where you had to work at that practise of fairness?Charles Moore: One way in which you need to be fair to a subject is simply to try to understand the subject. I don't mean the biographical subject. I mean the issue. And there are certain subjects that I'm less good at and, therefore, have to work harder on like, let's say, monetary policy or details about missiles. Neither of which are my natural territory, and both of which are important in the case of Mrs. Thatcher. So I would have to make more efforts about that, mental efforts, to really understand what's going on than I would about, say, fighting an election or reform of the trade unions or something like that. There's a sort of broad point about being fair, which is that biography naturally and inevitably and rightly must focus on the individual. And therefore, it may do that to the exclusion of other individuals or of a wider milieu, which is an inevitable danger but is also a mistake because the individual in politics doesn't act alone, even a very remarkable character like Margaret Thatcher or Winston Churchill. And one needs, somehow, to convey the milieu and the weight of the other characters while never ceasing to focus on the one character.One of the extraordinary features of Hilary Mantel's novels about Thomas Cromwell — Wolf Hall etc — is that, I think it's right to say, he is in the room the entire time, or in the field or whatever. I think Thomas Cromwell is in every scene. Sometimes it's reported speech that he's hearing, but still. And, as a biographer one sort of does that. Mrs. Thatcher is almost always in the room, not absolutely always. And that's right. That's fine. But one mustn't let her crowd everything else out.Henry: Were the Mantel books a conscious model or influence for you, or is that something you've noticed separately?Charles Moore: Not really because I was reading them more towards the end. Well, I read Wolf Hall quite a long time ago, and then I read the other two pretty much when I was finishing. But I think they're very good. Obviously, they're not biographies. But I think, I hope, I learnt something from them because there's a sustained effort of the imagination, which the novelist has to have, to see through the eyes of, in her case, Thomas Cromwell. And though biography is fact not fiction, imagination is required in biography as well. And so in some ways, it's a similar task.Henry: On this question of the milieu that Margaret Thatcher was in, you paid a lot of attention in the three books to the biographies of all the people around her, especially in footnotes, but also when you're describing events such as the leadership election in 1990, there's a lot of biographic information. Is this compilation of brief lives, a way of providing not just information, but commentary, almost like a sort of prosopographia? What stood out to me was that, even just through the footnotes, it really details the way that she was very, very different to everyone else in that world, demographically and socially.Charles Moore: Yes. That's right. So, in putting footnoted autobiographies of most of the characters, that's useful for reference, but it's also a sort of short-hand way of telling you about the milieu and the range of characters she was dealing with, and of course, it brings out the fact that they're almost all male and a very high percentage of them went to public schools and Oxford or Cambridge. She of course went to Oxford, but she didn't go to public school and she wasn't a man. So I think when your eye goes to bottom of the page and picks up one of those biographies, it should be helpful in its own right, but it also should have a cumulative effect of placing Mrs. Thatcher among all of these people and of course, rather like the only woman in the room is very noticeable physically, she's very noticeable as unique in this milieu.Henry: Is that a technique that you took from somewhere, or is that something that you devised yourself?Charles Moore: Well, I think she devised it to some extent, and I picked up on that. She always had to wrestle with the point that it was considered a disadvantage to be a woman in the world in which she was moving. And she realized that though in certain respects it was objectively a disadvantage because of prejudice and so on, she could turn it to advantage. And I think one thing she understood very early on, because though she's a very sincere person she's also a very good actress, is that she could see the almost filmic quality of her position. So she would know that the camera would come in on her, and therefore she should exploit that to the full with her hair, her bag, her dresses, the sense of being different and noticeable, her voice. And she put that to good use and tried to refine that and simplify it really so that it could have maximum impact.Henry: There was a High Tory ambivalence about Margaret Thatcher, so someone like T.E Utley was a supporter, but not a complete supporter, a slightly guarded pro-Thatcher. And I think you potentially fall into this group, not entirely aligned with the Thatcher government on Ireland, Hong Kong for example. How did this position affect you as her biographer?Charles Moore: I don't think my own specific views on political questions were so important in that, but I think perhaps my overall approach affected it. What I mean by that is that my background, I'm actually brought up as a liberal with a big “L” — Liberal Party. And by cultural inclination I wouldn't be a natural Thatcherite, and I would always look at Mrs. Thatcher as somebody different from my way of thinking in that sense, which of course makes that very interesting. I'm not part of her tribe, and wasn't by upbringing, and I hope that's useful because it gives a certain historical detachment. However I wasn't trying to write an interpretation of Mrs. Thatcher coming from my tribe, it wasn't like the Whig interpretation of history sort of thing. And indeed, in some ways, I was more impressed by her because I came from a different tribe, that's to say, she had to overcome more barriers in my mind, perhaps. Suppose I'd been writing a biography of Asquith, that would have been more like the world I grew up in, and perhaps less of a challenge. And writing about Mrs. Thatcher, it's exciting to enter a world which in social terms and political terms, and of course, a different sex as well, was less known to me.Henry: I think you wrote that she is, with the possible exception of Jim Callaghan, the most socially conservative Prime Minister that Britain has had. To what extent do your background and your personal views make it easy or difficult for you to be, as you said earlier, fair in the way that you presented that?Charles Moore: She's a very odd mixture in that way. I think I perhaps did write that. But of course, she also was such a change bringer. If you think of Mrs. Thatcher's natural demeanour and reactions, she would be very socially conservative. I mean not ultra socially conservative. For example, she married a divorcee, which was quite unusual in 1951. But a fairly conventional Christian, starting as a Methodist and sort of sliding gradually into Anglicanism as she rises up the social scale without ever abandoning Methodism. Believing strongly in firm punishments for criminals. A very uncomplicated monarchist. No problem about hereditary peers in her mind, etcetera, etcetera. Very fond of obvious traditional British things like the armed services, support for the police, all that sort of thing. And things like traditional high standards in school of a rigorous kind. So on and so on, all those things. But in another way, she's so impatient to change things and unafraid of challenging whatever it is that people usually go around saying. So it's a curious combination and an interesting one. For me, I don't remember that presenting a particular fairness issue. It's just this funny thing about her, which is also biographically very interesting, that she's very, very conservative and very, very radical.Henry: Do you think the fact that you have religious belief. Do you think that had any part in the consideration to pick you as the biographer? I think you've said before, you don't really know why she chose you.Charles Moore: No, I wouldn't have thought that it did have any consideration. Mrs. Thatcher's religion was quite vague, and she wasn't interested at all in ecclesiastical or theological questions. But one of the things she respected in religion was some sort of seriousness about ultimate purpose. And she certainly had such a seriousness herself. And I remember talking to her about that. This is before I was engaged in the work, I think just in conversation. I had recently become a Catholic, and she talked about that. This is another interesting example of her, in some ways, rather open mind because she's fundamentally brought up anti-Catholic as most English Protestants were. And I don't think she would ever have considered becoming a Catholic. But I remember her being rather pleased that I had become a Catholic because she thought this is a proper serious Christian thing to do, and it was something she respected. She felt this about Jews too, obviously they weren't Christians. But again, she had a respect for Judaism and Judaic law and custom and manners and thought. And that was something which she recognised and liked in other people.Henry: Margaret Thatcher is sometimes thought of, or dismissively described, as un-philosophical. You said in your prefaces that she would confound Socrates with her lack of reflection on her own life. But in some ways she was quite an ideological person, at certain times, about freedom and things. Is the difference between being philosophical and ideological really so great? And was she really living if not a philosophically reflective life, a very philosophical life in what you've just been saying about seriousness and purpose? Is she more philosophical than she looks?Charles Moore: Yes. Good way to think about it, I think. Alfred Sherman, with whom she fell out but who was close to her in the '70s, said that “she is not a person of ideas but a person of beliefs.” And beliefs, he said, are better than ideas. I think he meant better from a political point of view, for politics. And I think that's sort of right. So there was a sense in which Mrs. Thatcher was philosophical, which was that her mind was an enquiring one. And she was always thinking, thinking, thinking. “What's right here? What's the best? What's the problem? What's the solution?” But she didn't have the philosopher's sceptical mind or pure intellectualism. She wanted results. And she wanted good things to happen and bad things to be stopped. And so she did have what you could call a philosophy, but she was not a philosopher. She was a person of action and beliefs.Henry: I heard an interview with you recently where you, I'm going to paraphrase, you said something like the limitation of left-wing political thought is that it has a utopian belief in politics. As in, if everybody only could have the right politics, everything would be okay. And you've written and talked about Margaret Thatcher trying to create a Christian Social Order in Britain. And that's really the drive she had. Is she, in that sense, a bit more of a "left-wing" political thinker, with a more utopian vision, than we would typically think of her as being?Charles Moore: There is an element of that because she is partly a preacher in politics. There's an element of, some sense in her mind of building Jerusalem or rebuilding Jerusalem, I think is there. And that tends to be more associated with socialism and, indeed with certain forms of Protestant Christianity going back, than with conservatism. So there is something of that. However, one of her beliefs, which was true — I mean, which she did adhere to — was that politics doesn't contain the solutions of everything, because people do not political structures. And she di…

    Full show notes at the publisher

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