Alan Bennett Turns 90: A Deep Dive into His Latest Diary, "Enough Said"
Alan Bennett. The name itself evokes a certain warmth, a wry smile, and perhaps a gentle chuckle. For decades, this quintessential British writer has charmed audiences with his plays, screenplays, and, perhaps most intimately, his published diaries. Now, with the release of "Enough Said," Bennett navigates past his 90th birthday, offering readers a poignant, often hilarious, and deeply reflective journey into the realities of aging. But beyond the beloved persona, this latest volume sparks a critical conversation: are we celebrating the man at the expense of his profound artistic output?
The Public & Private Paradox of Literary Diaries
The concept of a published diary is a curious beast. Is it a raw, unvarnished glimpse into a private mind, or a carefully curated performance for an eventual audience? From Pepys to Clark, diarists have wrestled with this line. Bennett's diaries, often serialized in the London Review of Books before compilation, firmly sit on the 'public' side of this spectrum. They offer the illusion of intimacy, yet deliver a polished reflection, a testament to his craftsmanship even in ostensibly spontaneous jottings. It's a form he’s mastered, but one that subtly shapes the narrative we receive.
Navigating the Landscape of Aging: Memory, Capacity, and Friendship
The overriding theme of "Enough Said," covering 2016-2024, is unapologetic loss. Bennett candidly details the gradual withdrawal of physical capacities – cycling, then hearing, memory faltering, and even the elusive perfect word slipping away. Beloved haunts like New York become distant dreams. Perhaps most heartbreakingly, friends of a lifetime begin to exit, some, like Jonathan Miller, preceded by their mental faculties, others, like the legendary Maggie Smith, mourned amidst a public outpouring of grief. The world shrinks, and the diarist’s gaze turns inward, a reflective mirror on the universal experience of growing old.
He even pre-emptively apologizes to his readers for rehashing old ground, a charming nod to the repetitive nature of life and memory in later years. His infamous quip about the futility of being asked if he's gay or straight – "like asking a man crossing a desert whether he'd prefer still or sparkling water" – makes a welcome return, reminding us of his enduring, self-effacing wit.
Leeds in the 1930s: Alan Bennett's Vivid Nostalgia for a Lost World
Amidst the reflections on loss, Bennett's memories burst forth with vibrant detail, transporting readers to a bygone era. His childhood in 1930s Leeds, a time of "Donalds, Geoffreys and an Arnold ('who was poor')" in class registers, comes alive. We learn of his youthful mispronunciation of "Nigel" as "Niggle Bruce" and the endearing tale of Mr. Fletcher, the music master, an early Sibelius fan who almost met the composer in Finland, thwarted by the local council.
His recollections of Leeds' bustling theatre scene – catching Laurence Olivier, Flora Robson, and James Mason at the Grand Theatre for a paltry 1/9 – are particularly evocative. These warm, nostalgic passages, spurred by both age and the isolation of the Covid lockdown, are pure Bennett: charming, insightful, and a powerful reminder of how personal history shapes our present.
The Enduring Wit of Alan Bennett: From Macmillan to Sunak
Bennett's political observations in "Enough Said" are, predictably, cut from the same cloth as his earlier critiques. He labels Rishi Sunak "odiously pleased with himself," recalls Margaret Thatcher as "pernicious," and dismisses Boris Johnson as "not a normal person." While these views align with the 'lumpenintelligentsia' of North London, where his Brexit diary entry was "roundly applauded," they nonetheless offer a consistent, albeit conventional, thread through his decades of commentary. Rory Stewart earns a nod for courage, and John Bercow surprisingly receives "full marks." Keir Starmer's "plainness" is commended as a "relief," a sentiment which, as the article shrewdly notes, might benefit from a touch more temporal distance before publication.
Mastering the Mundane: Bennett's Ear for Everyday Language and Social Faux Pas
What truly endures and delights is Bennett's unparalleled ear for the spoken word and his keen eye for the wonderfully awkward. From his father's Yorkshire idiom ("He's batchy," meaning "He's barmy") to a train clerk’s double "Awesome" over a wheelchair booking, he elevates the mundane to moments of profound interest. A prospective gardener's understated "Yes… I can see what you’re trying to do," and a Yorkshire newsagent’s cheerful remark about "nasty" lightning down south are miniature masterclasses in observation.
His fame, now reaching a point where strangers literally kiss his hand, creates its own brand of comedic awkwardness. A glorious scene worthy of his beloved sociologist Erving Goffman finds Bennett, mid-lockdown, being wheeled home just as the NHS clap begins. He is effectively applauded down the street, acknowledging his 'réclame' with gracious waves – a perfectly unintentional, theatrical triumph. Even the story of a fan's Bennett portrait tattoo, which someone mistook for Henry Kissinger and reportedly sparked "amusing conversation during intercourse," highlights his unique capacity to find humour in the absurdities of life and celebrity.
Beyond the Diaries: Why Alan Bennett's Stage and Screen Work Deserves a Wider Audience
Yet, as charming and insightful as "Enough Said" is, the article raises a crucial point: Bennett’s diaries, while popular, may be overshadowing his wider, arguably more significant, artistic contributions. His early stage plays like Forty Years On and Habeas Corpus are rarely revived. While films like A Private Function and his works on George III and Joe Orton are accessible, a vast trove of his superb television plays and documentaries remains inexplicably trapped in archives, unavailable on streaming platforms.
It feels almost criminal that a masterpiece like his 1990 drama 102 Boulevard Haussmann, starring Alan Bates as Proust, isn't readily available on BBC iPlayer. This cultural neglect of his performance-based work, the very foundation of his reputation, is a disservice to both Bennett and his potential new audiences.
The True Legacy: More Than Just Pages
"Enough Said" solidifies Alan Bennett’s place as an enduring cultural icon. His diaries, a blend of personal reflection, social commentary, and observational genius, offer a comforting, often profound, reading experience. However, the true "buzz" lies in urging public institutions to make his unparalleled body of performance work accessible. We celebrate the personality, yes, but it's time to fully embrace the playwright, the screenwriter, and the performer whose theatrical legacy is, perhaps, even richer than the words on his beloved pages.
