Review
Books
Culture
Football
Sport
5 min read

The book to help you fall back in love with football

Neil Atkinson’s Transformer isn’t the straightforward biography of Jurgen Klopp.
A fan holds an upside down football scrarf that reads 'Juergen is a red'.
Fan fervour, Anfield.
Lloyd Kearney on Unsplash.

Transformer is a fun book. I don’t mean to sound trite, or to damn with faint praise when I say that. I mean it. Transformer is a fun book, and frankly too many books I read aren’t fun.  

David Foster Wallace used to say something similar (yes, the same David Foster Wallace whose novel Infinite Jest is over a thousand pages and has actual honest-to-god endnotes): much of contemporary print media has lost its ability to be fun. And isn’t that what we’re in this for anyway? 

And that is, I think, why Transformer feels like such a relief, honestly. None of the trademark scouse humour and levity that has made The Anfield Wrap such a successful and appealing football podcast is lost in the transition to text. It is a funny book. It is a fun book. 

Of course, there’s a lot here that you might expect to find in a book about Klopp, too, like discussions of key games throughout Klopp’s time at Liverpool. There’s also lots of what Atkinson does best: insightful and thoughtful reflection on the nature of contemporary football. Whether this is the nature of tickets and ticket prices, the state of TV football punditry, or why Liverpool fans (generally) don’t sing the national anthem, there’s much here for football fans and non-football fans alike to mull over and learn from.  

But it’s also worth noting what’s not in the book. There’s no real prolonged deep dive into Klopp’s personality here. I don’t say that as a criticism, more as a matter of expectation-management for potential readers. This isn’t a biography or a character study, although there are elements of this, for example, in the chapter on Klopp’s ongoing footballing rivalry with Pep Guardiola.  

Whole pages, even chapters pass without Klopp being mentioned. If you’re going into Transformer hoping to learn about Klopp’s upbringing, his playing career, his faith, you’ll likely be disappointed. But that’s fine, because Transformer isn’t that book. 

So much of the book is awash with the warmth of friendship and humour and life. 

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Transformer is not a book about Jürgen Klopp. Obviously, ostensibly it is. Klopp’s tenure at Liverpool drives the book forward; provides its pulse. But this doesn’t explain why there is a whole chapter on the meaninglessness of football without Divock Origi. And it doesn’t explain the inclusion of sentences like the following: “27 November 2019: Knives Out is released, meaning Sadio Mané has competition for most flamboyant performance from a Liverpudlian in a calendar year.” 

But it’s not even really a book about Liverpool, or football in general. Or Benoit Blanc. It’s a book about fun. About joy. About life, why it matters, why it’s good, and why it’s better with others.  

It’s really a book about love. About loving a football club and loving and being loved by others in the midst of loving that football club.  

Atkinson states up front that this book is about the people he has known and loved during Klopp’s time at Liverpool. It’s his version of this story. But in being his version, he allows it to be my version, too, and yours. “I am going to refer to people and places you may not know and we may not always trouble ourselves with descriptions. You don’t need to worry. That’s because these people, they are your friends. They are you.” 

And this is why the book’s most emotionally fraught moments hit as hard as they do; because so much of the book is awash with the warmth of friendship and humour and life. When moments do stand out in stark relief from the very fun and love that Transformer is keen on have us believe in, they thereby make the case for their importance all the more clearly. 

An insistence of the fundamental unseriousness of football is an act of gleeful rebellion. It is to play a different game. 

Much has been said about Covid and football under Covid. Atkinson’s compassionate, understated treatment of it is genuinely beautiful at times. “People pass away, unmoored from time, separated from loves ones in the grimmest circumstances, and no one quite knows what to do.”  

When reading Atkinson’s memories of the inner turmoil of his last interview with Klopp – “It was hard because I wanted to talk to him. At him. With him. I just wanted to list all these things has been part of with us, but, of course, he is more interested in you, in your world” – it’s hard not to be transported back to the sheer shock of his abrupt leaving.  

In case it’s somehow not clear yet, let me state it here: I think Neil Atkinson is one the most compelling and insightful thinkers in and around modern football. This is in large part because of his insistence on what many forget: football is a game. It is supposed to be fun. It is supposed to be a fun game you enjoy with your mates.  

We are in a world of nation-states and quasi-nation-states acquiring football clubs for political purposes. One with relentless discourse about the minutiae of every refereeing decision. A world where there is a constant, low-level feeling that I am yet again being ripped-off and taken advantage of for having the audacity to want to watch a football match. So, an insistence of the fundamental unseriousness of football is an act of gleeful rebellion. It is to play a different game.  

“I don’t see anywhere near enough people writing about happiness in general, especially within the realm of football where grumpiness has become the order of the day.” Transformer is the apotheosis of modern footballing grumpiness. It is sincere, and earnest, and vulnerable. And I love it for this.  

If you are looking for a comprehensive biography of Klopp, this isn’t it. This is something better.  

When I spoke to him about Transformer, Atkinson said he wanted the book to show that football fans were normal, complex people. That they were accountants from Altringham, and theologians from Liverpool (if we can count theologians as ‘normal’ people). Transformer absolutely bristles with humanity. 

Humans were made for community, for mates, for each other, and for last-minute Divock Origi winners. Humans were made for football.  

If you want to remember why you fell in love with football – or if you want to understand why others fall in love with it – I can’t think of a better book to read than Transformer

Review
Art
Culture
Royalty
Weirdness
5 min read

From witchcraft to statecraft: inside the mind of King James

A new exhibition examines art the monarch commissioned and inspired

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A portrait of King James VI, his eyes fix the viewer.
King James, by an unknown artist.
National Galleries of Scotland.

James IV and I devoted his twenties to trying to rid his kingdom of witchcraft. And 400 years after his death, witches continue to cast a long shadow over his reign. While James’ beliefs on evil developed and refined over his 58-year reign, his reputation as solely a torture and femicide perpetrator remains stubbornly hard to shift. For many, identification with the abused, marginalised- yet- magical trumps all other historical considerations. 

In the exhibition World of James VI and I, the National Gallery of Scotland presents a more rounded picture of the cradle king, who gained the throne of Scotland at 13 months old and became the first joint monarch of Scotland and England in 1603, on the death of Elizabeth I. The beginning of James’ reign in England saw the first productions of Shakespeare’s Macbeth, King Lear and The Tempest. Inigo Jones’ appointment as Surveyor of the King’s Work introduced the classical architecture of Rome to the country, designing The Queen’s House in Greenwich and the Banqueting House at Whitehall. 

The painted ceiling of the Banqueting House by Peter Paul Rubens provides insight into James’ preoccupations. Commissioned by James in 1621, the tennis court sized series was installed in 1636 becoming a memorial to the late King. In The Apotheosis of James I, the King is depicted ascending into heaven on a giant eagle belonging to Jupiter, ruler of the Roman gods. The winged figure of Victory, together with a figure representing Great Britain hold a laurel wreath above the King’s head, in exchange for his earthly crown. Parallels between the King and divine power are explicit, underlined by the figure of Religion holding the freshly translated Bible showing the first words of St John’s gospel ‘In the beginning’ (was the Word). In a side panel to The Union of the Crowns, where the King is presented in a Biblical setting, Minerva, goddess of wisdom is stamping on Ignorance, represented by an old woman, naked and floored. 

Rubens’ identification of an old woman as low status and powerless did not come out of thin air. In the social hierarchy of seventeenth century northern Europe, most ordinary people had few rights and women had next to none, entitled only to the legal protection of their husband’s rank. But lack of rights did not prevent women from influencing their communities’ moral tone. The victims of the infamous East Berwick witch trials in 1590-92 and Pendle witch trials in 1612, first came to the attention of authority through accusations and feuds within their own communities. 

Daemonologie, published in Edinburgh in 1597, was written following James perceived experiences of witchcraft when storms imperilled his voyage from Denmark to Scotland, returning with his new 15-year-old bride Anne. It is believed the King was involved in interrogations of witchcraft suspects in East Berwick, authorising their torture and execution. One suspect’s ability to recount a conversation from the royal bridal chamber, convinced James the accused were the tools of diabolical powers intent on killing the royal couple. Beliefs around women’s inherent weakness, positioned them as easier prey for malevolent forces:  

‘sexe is frailer than man is, so is easier to be intrapped in these grosse snares of the Devill’ 

In later life James became more sceptical about claims of witchcraft and demonic possession, and searched for evidence to discount what was only the work of fantasy and attention-seeking. 

But the King’s family history and tumultuous times he lived through, made the road to discernment a long and winding one. James last saw his mother, Mary Queen of Scots as an 11-month-old infant. His father Lord Darnley was killed in a mysterious explosion, possibly arranged by his own wife. Mary was imprisoned in England by Elizabeth I and executed in 1587 at Fotheringhay Castle in Northamptonshire. In the lead up to his marriage James lamented that as a child he was ‘alone, without father, mother, brother or sister.’ 

The normalcy of removing troublesome relatives is illustrated by a 1605 portrait of Lady Arabella Stuart, attributed to Robert Peake the Elder. The King’s cousin died in the Tower in 1615, where James had her imprisoned, in case her marriage to William Seymour gave her too strong a claim on the throne. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role...  has no historical precedent.

Death also stalked James and Anne’s family, with only two out of their seven children surviving into adulthood. Their eldest son and heir Prince Henry Frederick died aged 18, and was mourned throughout Europe in the decades that followed the death in 1612, as he was seen as the great hope of the continent’s future.  

The World of King James VI and I is full of visual meditations on death. On entering visitors are greeted with Livinius de Vogalaare’s The Memorial of Lord Darnley, 1567, a substantial canvas, with a crowned, grey-robed infant James, kneeling before his father’s coffin. Darnley’s effigy with hands in prayer lies on top the casket, unicorns either side of his head. An engraving of Prince Henry Frederick’s Hearse, 1640 copy from 1612 original, shows the richly decorated hearse, complete with a wax effigy dressed in the prince’s clothes, which was accompanied by 2000 mourners as it made its way to Westminster Abbey. Eighteenth century artist James Mynde’s engraving The Mausoleum of James VI and I, illustrates the Jacobean era’s fondness for lavishly dressed effigies of the deceased, surrounded by figures of classical deities. 

Charm stones, believed to cure sickness in people and animals, formed part of James’ cosmology, together with the new translation of the Bible he commissioned, intended to sound beautiful for this age of oracy. James advocated for Protestantism and the reformation, while being in regular communication with the Papacy. He also brought a more English style of worship to the independent-minded Scottish kirk, insisting they used chalices and altar cloths. The monarch was devout, yet flexible, in his Christian beliefs. 

A simple reading of the Jacobean court is not possible. It was a place of ritualised gift-giving, with ciphered and initialled jewels indicating who was in or out of favour, whose power was rising, and whose power was waning. James believed he was sent by God to rule and protect his people, and felt justified in extinguishing anyone or anything threatening his divine project. Self -proclaimed, or community-nominated witches provided useful scapegoats for discontent around James’ rule, underlined in 1605 by the Gunpowder Plot. 

Today’s witches on Etsy may feel they are reclaiming a lineage of folk wisdom and reparation for past wrongs. But willingly stepping into the scapegoat role and presenting a blank screen for the dark projections of the powerful, has no historical precedent for bringing liberty or social transformation. Cos-playing the historically marginalised will not make things better for today’s excluded and underserved, but focusing on down to earth, earthly political and economic power will. 

 

The World of James I and VI, National Galleries of Scotland, until 14 September.