Christopher Eccleston is probably my favourite Doctor of the revived Doctor Who, but it’s his public anger about the lack of opportunity for working class actors and his willingness to admit to mental health problems that really made me respect him. I watched Lemn Sissay and Christopher Eccleston discuss their memoirs for the Bradford Literature Festival in 2020, just the pair of them in conversation about their vastly different upbringings a few miles apart in what is now Greater Manchester. I honestly can’t remember whether I’d just read My Name Is Why or if I was intending to, but I know that a couple of weeks after that event I was buying an ebook on Kobo and spotted that I Love The Bones Of You was the 99p daily deal so I decided to give it a go. It’s taken me a while to be brave enough to read it because I got the impression it was largely about the effects of his dad’s dementia and my mum’s been suffering for a few years now. Indeed I cried my way through the last couple of chapters which do focus on his dad’s plight but although it’s mentioned earlier – foreshadowed if you like – it’s by no means the core of the book.
Thankfully it’s not a celebrity memoir either, full of name-dropping and amusing anecdotes. The trouble is, I’m not sure what it is. He does have important things to say about many things such as the stigma attached to mental illness, the assumption that anorexia only happens to girls, and how damaging a traditional northern working class stoicism can be when actually the stronger thing to do would be to ask for help. He also highlights how the opportunities he was afforded as a drama student in the 80s don’t exist for young people starting out now, and how in a precarious job market (like acting, but not only acting) there’s a pressure to conform and to put up with discomfort or bad behaviour. Also, shockingly, that post-breakdown he was seen as an insurance risk which could (and certainly would in a less-established actor) restrict his ability to work, thus encouraging people to cover up problems. I don’t agree with him on everything, but I do agree that sometimes ‘working class chip’ and ‘professional northerner’ are used to lazily dismiss genuine grievances.
There isn’t a simple chronological autobiography here, in fact I felt like I was floundering in a stream of consciousness in the early chapters, confused at times as to what era we were in and if that was before or after some particular event. On the other hand he does go off on short tangents now and then about making this TV series or that film. I appreciated his respect for writers who are trying to inform as they entertain, and I finished the book with a couple of TV series I wanted to watch. I often want to be that kind of writer but aside from Twelve Weeks’ Rest I’m not sure I’ve managed it. There’s an element of catharsis, writing-as-therapy, and I sincerely hope it helped him to explore for instance what masculinity means when you’re northern and working class, particularly in the 70s when he was hitting his teens. I recognised too much of that self-policing mindset that leads to internalised problems that erupt much later. It’s not my story to tell but someone close to me was also suicidally depressed in his fifties and to read Eccleston’s take on his own breakdown was painful.
Things being not your story to tell can hamper memoir, of course, and there’s some of that in I Love The Bones Of You. He has two older brothers and naturally they make the odd appearance but it would have been interesting to know how their getting married and having sons of their own informed his ideas of masculinity or his relationship with them or his dad. I sensed that he wanted to keep their tales private though, and their families are only mentioned in passing with reference to a funeral. It’s perfectly reasonable to want to keep your living family out of the limelight – his dad had been dead for seven years I believe, by the time the book came out in 2019 – but it’s a shame that some interesting angles were therefore left unexplored.
I didn’t give up on it, partly I felt I owed it to him for being so brave as to pour all that onto a page and send it out for strangers to read and judge. There’s a raw openness to it that I admired even as it made me feel uncomfortable. It’s not so much a warts and all portrait as a tight close-up on the warts such that you’re left wondering about the wider view. In summary, I’m glad I read it but I felt scoured out by the end. And for the record, I would watch a BBC Who Do You Think You Are about his farm labourer and factory worker ancestors; I’m from long lines of agricultural labourers, miners and mill-hands myself.
If I’ve introduced you to your new favourite book you can always buy me a cuppa…