And there were Chinese hats with ear-flaps; and a brand-new Romanian railway guard’s navy blue wool coat with an imitation fur collar and entirely lined with sheepskin, bought brand-new from a state pawnshop in Bucharest for around £12; and there were mowing machines and a garden roller and Primus stoves and Bergan rucksacks and bicycles and what were known as Itisa tents made from the finest imaginable cotton back in 1935 and still usable in 1996,* and real eiderdown sleeping bags which cost a small fortune; and walking sticks, one of which concealed within it a sword and another a cosh, which my father commissioned from Brigg, the umbrella and stick maker in Piccadilly, when he had to travel in ‘foreign parts’. And there were fifteen years of back numbers of Vogue and Harper’s, aides-mémoire to my life and times in the rag trade. And there was an enormous hammock made by ladies working in the gaol in Merida in Yucatan which could swallow up a family of five with ease. And thousands of prints without negatives and negatives without prints, and transparencies, some of which were already beginning to fade.
These were just a few of the things, objets retrouvés, which had swum before our eyes while the very old-fashioned-looking removal men – all of them wearing green baize aprons and themselves smelling of a mixture of, could it be linseed and old furniture? – removed and wrapped them up in old yellowing newspapers (that I would not have been surprised to learn had the date 4 August 1914 on them) before stowing them away in one of a large number of plywood tea chests with Army and Navy Stores stencilled on them in black.
The removal men had almost completed this packing-up process and had already begun to load into the van some of the chests from the upper parts of the house, comporting themselves with a stately slowness, when the director of the film in which we were to take part arrived on the scene and asked us to tell the removal men to bring all the containers back into the house as he wanted to film the process of the Newbys packing up and leaving for pastures new.
Mischa Scorer, who was responsible for this decision, was young, brilliant, charming and, as he now proved himself to be, utterly ruthless. What eventually resulted was a rather funny piece of cinéma vérité, based on there being nothing more likely to drive anyone to suicide than unpacking a whole lot of old tea chests, filled to the brim with things you will probably never need again, and then repacking them.
It was Mischa who told me that I would need my spiked cross-country shoes for a sequence in which I was to run across Wimbledon Common and Richmond Park, something I used to do quite often, mostly in winter just before dusk when they were wild and lonely places. I did this to let off steam and to think about what I was going to write next and how I was going to approach the subject. This was years before jogging became a worldwide pastime.
He also told me I would need my cycling shoes for the cycling scenes and they eventually turned up at the bottom of another box. I take size 12s in shoes and my bike had narrow, racing pedals, so there was no question of just walking into a shop and finding a pair – mine had to be made-to-measure. Both items were at the bottom of their respective tea chests.
After carousing in the mud on Wimbledon Common and less muddily in Richmond Park – both running events – the whole show was moved to Marble Arch. Here, if the venue seemed to Mischa to be sufficiently hazardous, I was to be filmed riding round and round it on my twelve-speed touring bicycle which had dropped handlebars. This, too, was long before mountain bikes with triple chainwheels and eighteen or twenty-one gears appeared on the scene.
After seemingly endless circumnavigations, eventually the filming took place with me wired for sound and the crew filming me from the back of a van as I pedalled towards them at about 15mph, at the same time gibbering into the microphone in an attempt to express my feelings about riding round the Marble Arch. The effect of a solitary cyclist talking away to himself, in fact shouting away to himself – the only way I could make myself heard above the roar of the traffic as I crossed and recrossed its bows – must have given other road users the impression that they were in the presence of a lunatic, which in effect I was. It was only when I saw some film of me and my bike taken through a lens which caused everything behind me in the way of traffic to loom precipitously overhead that I realized how dangerous it was.
Follies, Holy Wells, Great Cliffs and Storms were other subjects I had told Mischa I would be interested in elaborating on in One Pair of Eyes. All these were to be found in abundance on the West Coast of Ireland anywhere between Malin and Mizen Head. But storms, even in winter, were difficult to predict. At one moment we found ourselves standing by to fly to South Africa where a big storm was threatening to take place; but then a whole series of them, mostly force 9 and 10, began to blow up on the Loop Head Peninsula at the mouth of the Shannon in County Clare, which were stormy enough for anything a sane person would want to be involved in.
It was at this time, with a force 10 gale raging and very much against my inclination, that Mischa told me to traverse a large, inclined ledge of rock that was being swept by big seas and it was here, while I was standing on the edge, wondering whether to go through with it, that one of the waves picked me up and threw me down with such violence that a doctor had to be summoned to give me a shot of morphia. Meanwhile, Mischa carried on filming without giving me the opportunity to change out of my wet clothes. Working with Mischa could be a health hazard. I should have sued him.
When the excitement of being asked to write a history of exploration had to some extent abated and I was actually confronted with the necessity of getting on with it, I felt like Hillary and Tenzing must have felt at the foot of that Everest. What I soon realized was that I knew far less about the subject than my new employers thought I knew. They had already assembled a team of researchers of mature student age whose job it was, ostensibly, to help me in the search for material; but some of these had already been commandeered to do research on the pictorial content of the book, for which it grew ever more apparent the actual text had a more or less supporting role.
At first I decided to make a list of all the well and not so well known explorers, beginning with the Ancient World, and I eventually ended up with a lot of notebooks crammed with unhelpful entries, such as: ‘Egypt – Old Kingdom – Papyrus in the reign of Sneferu (4th dynasty c. 2613–3494). Records imaginary voyage and shipwreck – Cary and Warmington, The Ancient Explorers, p. 233 and 239. See note on Celinischef, Sur un ancien conte Egyptien, 1881, p. 4–8, and in Maspero.’ And so on until I felt my reason going.
In fact, mercifully for me, it soon turned out that there was not going to be enough time to do it in this way, or even decide what was to go in and what was to be thrown out. By now we had taken temporary refuge in the ground floor flat of some great friends of ours in Spencer Park, Wandsworth, and no sooner had we moved in than great piles of books and aides-mémoire began to arrive on the premises. They were either brought by special messengers on motor cycles or in taxis from the publishers’ premises off the Charing Cross Road. Then, having found the books I needed, many of which had come from the London Library (and a lot from the Wandsworth Public Library, which had enormous numbers of travel books in its vaults), and having, for example, identified those which dealt with the Portuguese voyages to Africa and the East in the fifteenth and sixteenth centuries, I opened them at page one and began to go through them and sometimes even began to write about them, without, usually, having the slightest idea what would eventually happen. Suddenly, the whole world began to spread out before me. It was all rather exciting.
Having done this, I used to send my typescript back to the publishers where the editors would mangle and rewrite it in their own, inimitable fashion. But I could scarcely complain. They had no choice. All my contributions were over-written by many thousand words. I had, and still have, the conviction that I must let the reader know if I discover anything