“He liked life to be predictable and orderly. He liked to have time to think what he was going to feel about something before it happened.”
Michael Frayn's hilarious depiction of 1960s Fleet Street captures all the stereotypes and realities of journalism. "Towards the End of Morning" is hysterical, peopled with angsty editors (Dyson), driftless writers (Bob), immovable lifers (Eddy Moulton), and vague social climbers (Erskine Morris).
“He had spent his youth as one might spend an inheritance, and he had no idea what he had bought with it.”
Anyone who has spent any time on a newspaper, magazine, or publication of any kind will recognize the characters and ethos of a newsroom and its environs. Frayn has nailed the vibe beautifully, making for an irresistible encapsulation of an entire trade.
“He settled back in his armchair with his beer, full of mutton and beans and well-being. He felt as though there were a space for him in the universe, and he exactly filled it.”
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