THE BONKERS BOOK OF JOBS!

Careers advice. We’ve all had it (if our schools were obeying the law, anyway) and it’s probably fair to say that for many of us it was a waste of time. Whether it’s the crossing off of nine tenths of our ambitions; the oh-so-encouraging ‘I’m not sure this is for you’; or the one-size-fits-all ‘have you considered teaching?’ almost everyone has their own story of the shoddy guidance we received for one of the most important decisions we ever have to make.

The work we decide to pursue influences pretty much every other aspect of our lives: where we live, the people we meet, our daily routine.  If we’re lucky enough to find our vocation, our job might even become our single most defining feature. And yet we make most of the decisions that influence our future careers at ages when we’ve barely begun to understand who we are. The things we value at sixteen, eighteen or twenty-one generally appear frivolous when we are faced with the reality of mortgage repayments, school catchment areas, and commuting distances.

It is perhaps this question – who am I? – that a child should most ponder when considering their future career. Once we know who we are, we can better consider who we would like to be. Taking this approach, careers guidance is participatory and individual, leading the young subject to a deeper understanding of their priorities – what they want from work, rather than what work will want from them.

These are the findings of Mark Wilkinson and John Ambrose, both of them renowned academics in the field of careers education and guidance. And having dedicated their professional lives to improving the provision of careers advice in the UK, they have now decided to take the question directly to children, with their debut book, The Bonkers Book of Jobs.

The book is aimed at children at Key Stage 2 and 3 – the stages where the provision of careers advice provision becomes a legal necessity for any school. Its premise is simple: thirty six different careers are detailed, with information of the general responsibilities, salary, levels of demand and entry requirements. The careers are split into six categories: weird, scary, cool, disgusting, delicious and stupid (it should be noted that, for Mark and John, strongly influenced by the irreverent style of the classic Horrible Histories series, stupid is very much a compliment). At the end of each job’s section, there is a brief quiz on the reader’s thoughts; these lead to a further interactive quiz at the end of each category; and at the end of the book is the final quiz, which draws on all the reader’s previous answers in order to provide them with a personal psychometric profile.

This profile is then tied back to the various paths identified earlier in the book, and their particular suitability depending on the reader’s own personality. But rather than dictating certain paths, Mark and John are careful to avoid prescriptivism; instead, the reader is encouraged to consider a job in relation to how they think and feel.

As Mark explains: ‘There’s reams and reams of research out there demonstrating that a child learns much better if they are enthused and engaged. The same is true for careers advice. Because, ultimately, a career is a choice. And if we are engaged with our decision-making processes, then ultimately we make more considered – better – choices. At the same time, what you never want to do – whether in education or careers guidance – is intimidate a child. Ultimately, a child knows that at, say, fourteen, they don’t have to make a career choice right now, and if you try to pressure them into it, they’ll simply disengage altogether. But if you say to a child, well, you like sport, you like the outdoors, you’re an extrovert, did you know you can, say, travel the world teaching golf? Or become a walking guide, and be out in all these picturesque places all day? Suddenly you’ll find them taking an interest. Because you’re tacking an interest in them, in what they like, in what they want.’

Like the Horrible Histories series, the book maintains this sense of fun through lively, jokey writing, and zany illustrations throughout. It revels in the unexpected, bizarre, even the icky elements of the job it describes. With a new strategy for schools’ career guidance provision coming into effect in 2013, school are now required to provide access to ‘useful information about career paths and the labour market to inform their own decisions’. The Bonkers Book of Jobs has been reviewed as fulfilling these requirements, but it is unlikely that many other classroom resources will feature such detail on the day to day of ‘portable toilet service deliver’; but perhaps they should, considering that, as the book explains, this particular industry has sixty years of unbroken growth.

It is this combination of fact and frivolity which makes The Bonkers Book of Jobs so effective. By engaging with its young readers, by entertaining them, most of all, by listening to them, it will serve as not only an indispensible aide to parents and beleaguered careers advisors everywhere, but a go to read for children too.

TOMORROW'S WORLDS: WAR OF THE WORLDS

Another side step. Mark Brake, the author of Mark Brake’s Space, Time, Machine, Monster (featuring sections on Doctor Who) reviews the second edition of BBC 2's Tomorrow’s Worlds – a programme about the history of sci-fi. 

The greatest alien invasion in history began on bicycle.

HG Wells planned The War of the Worlds as he,“wheeled about the district marking down suitable places and people for destruction by my Martians”, as early as 1896.  It’s intriguing to picture him mapping mayhem as he declared his intentions to,“completely destroy Woking – killing my neighbours in painful and eccentric ways – then proceed via Kingston and Richmond to London, which I sack, selecting South Kensington for feats of particular atrocity”,(indeed, it’s South Kensington that is haunted by the sound of the Martians howling,“Ulla, ulla, ulla, ulla”in Wells’ finished story).

It’s the exquisite violence of Wells’ imagination that marks his genius. And it’s this delicious balance between the suburban and the alien that is the focus of the second episode of Dominic Sandbrook’s Tomorrow’s Worlds: the Unearthly History of Science Fiction. Sandy, as viewers have come to affectionately know him, almost adopts a space/time/machine/monster structure to this series, but instead of ‘monster’, and as an historian whose expertise includes the Cold War (he’s written a biography on McCarthy), he’s sticking to what he knows most about - invasion paranoia!

Sandy opens this second programme with War of the Worlds, the key Victorian sci-fi work he conveniently skipped in episode one, as it would have ruined his thesis.  He correctly identifies War of the Worlds as the most enduring alien invasion myth of the 20th century.  Wells’ story was essentially copied many times, and adapted directly by Orson Welles in his famous radio broadcast in 1938, when broadcast radio was only 20 years old, making the programme exceptionally innovative, daring, and all the more scary to listeners (Sandy omitted to mention that Welles’ radio version was a Halloween broadcast, making it even scarier).

Another reworking of the War of the Worlds myth was the 1996 movie, Independence Day.  As Sandy says, compared to the original, Independence Day is totally overblown.  Quiet suburban streets are replaced by a ‘drama’ played out in the seats of power, with the world’s landmarks taking a twatting (the film’s director, Roland Emmerich says they took great delight in blowing up the White House).  But Sandy is right when he suggests that this big budget demolition lacks a psychological punch.  When you remove the invasion from suburbia, you lose the sublime tension.  It seems that Spielberg was well aware of this, as both Close Encounters and E.T. do the job brilliantly.

And this brings me round to the topic of Doctor Who.  A few years ago, I was speaking at a London Science Museum event with the Doctor Who writer (among other things!), Paul Cornell.  When the audience asked us about the contribution Doctor Who made to science fiction, I was surprised to hear Paul say that he didn’t think Doctor Who was science fiction.  He thought it was about ‘galaxy and chips’.  I was delighted with this response.  So much so that we’ve used it in our Science of Doctor Who show ever since!

When Peter Capaldi was asked by The Guardian newspaper why Doctor Who had kept its sense of wonder for so long, the Twelfth Doctor gave a similar response to Paul Cornell, “It is this relationship between the domestic and the epic.  The sense that there's a bridge, that a hand can be extended, and you can step from the Earth, from the supermarket car park, into the Andromeda nebulae or whatever”.  It’s that sublime tension again.

The book, Mark Brake's Space, Time, Machine, Monster, also examines how sci-fi helped build the world in which we live. It is is available to buy now from Amazon and the Candy Jar store.

TOMORROW'S WORLDS : MISSING A PAST

Mark Brake, the author of Mark Brake’s Space, Time, Machine, Monster reviews last night’s Tomorrow’s Worlds – a programme about the history of sci-fi. Next week is a Doctor Who heavy episode. Don’t miss it!

On TV, no one can hear you scream.

Or at least that’s what it seemed like last night, as I screamed enthusiastically at historian Dominic Sandbrook’s presentation of Tomorrow’s Worlds: the Unearthly History of Science Fiction, on BBC Two.

Dominic did a reasonable job of guiding us through the science fiction of space, the first theme of this four-part series. But as his focus was film, I felt his theories were left a little lacking in leaving out a lot of the fiction that had inspired the movies.

Witness Dominic’s account of the roots of sci-fi. The origin of it all, he says, comes from tales of trips to the Moon, from the likes of Jules Verne. You can see why Dominic took this tack.  Verne’s book was very influential on one of sci-fi’s first ever films – Le Voyage dans la Lune, a 1902 French silent movie, directed by Georges Méliès.

And yet the first Moon stories of sci-fi were published in the 1630s, over two centuries before Jules Verne, and way before the days of cinema.  Both Somnium, by Johannes Kepler, and A Man in the Moone by Francis Godwin (the Bishop of Llandaff in Cardiff!) were lunar journeys that involved meetings with alien life. Dominic says the cool thing about Jules Verne is that he got the maths right.  Well, Johannes Kepler was Imperial Mathematician to the Pope! Kepler really got his maths right. He was the man who gave us the laws of how the planets move in orbit about the Sun!

Perhaps the programme’s biggest problem was ignoring the influence of that Shakespeare of sci-fi, HG Wells.

Dominic suggested that Star Trek was Victorian in its attitude to other peoples and nations. But, that most influential of the Victorian writers, Wells had warned against such an attitude with The War of the Worlds, a cautionary tale about empires swanning around as if they owned the place.

The programme also suggested that Victorian sci-fi had put man at the centre of the Universe. And yet, the era’s most influential work, The War of the Worlds did exactly the opposite; humans are faced with the technologically superior and invading Martians (I suspect Dominic is conveniently keeping this Wells tale for the next episode on ‘Invasion’).

Next up, Dominic introduces the movie masterpiece, 2001: A Space Odyssey. Its author, Arthur C Clarke, was determined to move humans from their assumed centre of the cosmos, according to Dominic. And yet Clarke’s entire approach was greatly influenced by Wells who had quoted Kepler when he said of alien life, “But who shall dwell in these worlds if they be inhabited? … Are we, or they, Lords of the World? … And how are all things made for man?” In other words, who’s boss of the Universe?! Clarke was following a line started by Kepler, and carried on by Wells.

Still, even though the programme missed out on this longer fictional view for the sake of film, it was nonetheless thought provoking.

The link between the sea and space was conjured up in the programme’s account of the James Cameron movie, Avatar. The film’s main planet, Pandora, presented an ecology very reminiscent of deep sea ecology on Earth. This is no doubt influenced by Cameron’s journey to the Mariana Trench; he’s the first person ever do a solo descent to this deepest part of the ocean.

Science fiction began in the days of Shakespeare. It was Kepler who had first encouraged the building of ships fit for space.  In the last few minutes of the programme, Dominic claimed the desire for space has fizzled out.  No doubt the script was written and filmed before the ESA Rosetta mission successfully plonked a lander on a comet speeding at 40,000mph, much to the adoring delight of the world on social media!

I look forward to the next three episodes; on invasion, robots, and time travel respectively.  Hopefully, people will come out of Tomorrow’s Worlds wanting to know and read more.

The book, Mark Brake's Space, Time, Machine, Monster, also examines how sci-fi helped build the world in which we live. It is is available to buy now from Amazon and the Candy Jar store.