Introduction.
One area of human experience that Robert Calvert wrote about extensively across lyrics, poetry, prose and plays was romantic/sexual relationships. Although he rarely touched on this area while writing lyrics for Hawkwind it is a theme that he explored in various ways in his other work. This essay will approach the subject matter thematically exploring the various permutations in Robert’s writing.
Robert Calvert: Through His Work observed that the 60s and 70s counterculture offered an alternative, progressive, anti-capitalist politics and value system with which to critique the hegemonic ideologies and worldviews of the capitalist state/society. However, it had its blindspots and the ubiquitous sexism of the time was perpetuated within the counterculture. As Marx had previously observed ‘The ruling ideas of each age have ever been the ideas of its ruling class’ (Marx n.d.: no pag.). That is the worldview of the powerful are disseminated ‘downwards’ into society via the means of socialisation and communication and internalised as ‘natural’ thus ‘perpetuating the interests of the ruling class’ (author unknown n.d.: no pag.). Antonio Gramsci’s concept of ‘cultural hegemony’ and Louis Althusser’s theory of ‘Ideological state apparatus’ likewise posit similar ideas. Existing in a wider context of patriarchal capitalism the counterculture contested much of the top down discourse but it had its own internal tensions due to reactionary views around gender, gender relations and gendered roles within an ethos of freer ‘sexual mores’ (Slonecker 2027: no pag.).
Any analysis of Robert’s writing has to consider this subcultural and wider social context. Another factor to consider is an obvious one that literary art does not always communicate the views or experiences of the writer, they may not be autobiographical and it is important to factor in these artistic contexts. Bowie’s penultimate album The Next Day is a good example of this as some of the songs’ lyrics are written from the perspective of various characters informed by Bowie’s recent reading of books on European history (wikipedia n.d.: no pag.). The most obvious parallel are the songs on Hype about which Robert said ‘...as I had invented a rock singer I had to, to make it convincing, invent songs for him, that he had written and then I found that I actually starting hearing the songs in my head and this led to composing the songs and recording them and eventually releasing both the novel and the album of the novel at the same time’ (Calvert 1981: no pag.).
With all this in mind this essay will attempt to engage with Robert’s writing on ‘romantic’/sexual relationships, writings that range across various aspects and several permutations from the chance non verbal encounter to the sci fi!
Human-Human Relations.
Over his multidisciplinary writing practice Robert engaged with many aspects of human-human relationships from the briefest of encounters through to marriage. Although not exhaustive this section will review some of these works hopefully showing the various facets of romantic/sexual relations Robert covered although obviously the lines will be blurred and to a degree arbitrary.
In 1975 Robert won the Capital Radio poetry competition with ‘Circle Line’, a poem that later appeared in the 1977 collection Centigrade 232. The poem is about that point in a tube journey when one’s concentration on self containment wavers and one starts to notice others, it is an insightful and honest depiction of the moment when two people’s ‘unguarded’ glances meet, the ensuing ‘embarrassment’ and retreat into self and the renewed safety of one’s own reflection (Calvert 1977: 34).
That sense of attraction implied in ‘Circle Line’ is more fully explored in the Hype track ‘Over My Head’ and the Die Losung track ‘Drawn to the Flame’. In ‘Over My Head’ the narrator is preoccupied with the physical attractiveness of his companion and therefore uninterested in/unable to concentrate on her conversation about global politics and the arts (Calvert 1981). The latter track seems to explore the effects of pheromones on the narrator, a sense of being unable to resist a chemical response that is stronger than the rational and his reservations even though he is able to acknowledge it may well end badly (Calvert 1989).
Both tracks engage with the experience of physical/chemical attraction that can sometimes feel stronger than the rational even when alarm bells are ringing! The related areas of sex and reproduction are covered in various ways in several poems in Centigrade 232; ‘Lines For a Conception Card’, ‘Your Time’ and possibly ‘Dance Steps’.
That relationships go through difficult patches, include tensions and don't always last was not shied away from by Robert. On Hype, through the persona of Tom Mahler, he writes on a relationship that has got stuck in a negative loop with no idea of how to break out of that cycle (‘It’s the Same’). On a similar theme of relational tensions ‘Sensitive’ is about the difficulties of living with someone who is constantly dissatisfied and critical of their partner’s behaviour (Calvert 1981). Interestingly, Robert deploys the same analogy of flames/fire in the title of ‘Visions of Fire’ as he used to discuss chemical/sensual attraction in ‘Drawn to the Flame’. Also on Die Losung, this song deals with the realisation a relationship is over as the protagonist has seen his partner with another (Calvert 1989).
In the 1979 play Mirror Mirror, the focus is initially on the main character Eleanor’s relationship with her new dress but gradually turns to her relationship with the multiperspectival mirror whose various channels represent her as others perceive her. Her concerns are particularly over her husband’s ‘view’ of her as she knows her husband married her primarily for her looks. Mirror Mirror explores the internalisation of objectification and the prioritising of female physicality with Eleanor concerned about her relationship with her husband due to the inevitable effects of ageing. The play highlights the anxieties generated by consumer capitalism’s sexist demands that women attain and sustain an adherence to an always out of reach ideal and the self preoccupation this can lead to. In the play Eleanor attempts to prove to herself her continued attractiveness by making a pass at an unfortunate technician.
Marriage and durable love were areas of human relationships that Robert wrote on in plays, poems and songs over many years. Though not recorded for the album the lyrics for Captain Lockheed and the Starfighters included ‘The Widow’s Song’ (wikipedia n.d.: no pag.). In this song the widow gives a rather mixed account of her husband’s character but declares that as well as not biting his fingernails ‘he was good to me’ and bemoans the fact that ’he’s never coming back’ (Calvert 1974).
On the 1984 album, Freq, is the track ‘Work Song’ which includes the lyrics ‘When I’m working, working on my machine I think about you, I think about what you mean…’ (Calvert 1984). Jill Calvert observes that the song is about Robert ‘sort of happily working with his machines’ (J. Calvert 1996: 3). Robert’s 1986 collection of poetry Earth Ritual includes the piece ‘Married’ praising his wife for her care, patience and thoughtfulness with his notes and half finished bits of work, ‘She doesn’t just screw them up and throw them away as other, less understanding wives might do, instead she collects them all together and puts them neatly away in a cupboard’ as she understands they are an ‘essential’ part of him (Calvert 1986). He also wrote the poem ‘Event (for Jill)’ that is possibly about pregnancy (Calvert n.d.).
Human-Fantasy Figure.
In a whimsical piece from 1971 called Morning - And The Hour-Glass Whispers, Robert constructs a tale of rising very early in the morning and realising that the beach is also a beautiful woman. He invites her for breakfast, she accepts, and they return to his room where he ‘tried to think of things to say that might amuse this damsel of sand, who looked so sad in this light of unprecedented earliness’ (Calvert 1971: no pag.). They discuss the nature and experience of beaches and sand, Eloise’ view is a negative one, that it is ‘Boring…I just lie there all day’ and ‘a barren dumping ground for the debris of the sea’ while Howard has a positive view, that sand and beaches are safe places to fall, a refuge for ugly toenails, a place where ‘a boy may build a castle of dreams for the tides to dash. An object lesson for any child’, ‘the oldest and newest places on earth’ (Calvert 1971; no pag.). They converse, have breakfast, kiss (it ‘tasted of whales and painted buckets, of foaming waves and little paper flags’), and go to bed together. Later, ‘She kissed me and tiptoed out’ (Calvert 1971; no pag.).
This piece is short and charming fantasy but it is also an intriguing piece of writing as it is constructed around and perpetuates both the ideas of the conflation of woman and nature and the struggle of man to construct in opposition to nature, ideas that have persisted from ancient times.
Ortner posits that the ‘pan-cultural second-class status’ of women is due to their being more closely identified with nature than are men, who are closely identified with ‘culture’ (Ortner 1974: no pag.). She writes, ‘The formulation I would like to defend and elaborate on in the following section, then, is that women are seen…as being closer to nature than men. That is, culture (still equated relatively unambiguously with men) recognizes that women are active participants in its special processes, but at the same time sees them as being more rooted in, or having more direct affinity with, nature...even if women are not equated with nature, they are nonetheless seen as representing a lower order of being, as being less transcendental of nature than men are’ (Ortner 1974: no pag.). Ortner observes that women have been more closely identified with nature due to their reproductive physiology, consequential gender roles and psychic socialisations (Ortner 1974: no pag.). Interestingly the piece keys into this reproductive aspect of female identity as the conclusion of the story is that the couple have sex before she leaves.
This short story reproduces these traditional views of the female/nature and also inadvertently perpetuates established views of gender roles with Howard generally active, proactive while generally Eloise is more passive, responding to Howard’s leads - although proactivity/sexual desire is attributed to her as she is the first to sit down and then lie down on the bed.
Relevant to the second point Ortner comments ‘...my point is simply that every culture implicitly recognizes and asserts a distinction between the operation of nature and the operation of culture (human consciousness and its products); and further, that the distinctiveness of culture rests precisely on the fact that it can under most circumstances transcend natural conditions and turn them to its purposes. Thus culture (i.e. every culture) at some level of awareness asserts itself to be not only distinct from but superior to nature, and that sense of distinctiveness and superiority rests precisely on the ability to transform – to “socialize” and “culturalize” – nature’ (Ortner 1974: no pag.). As previously quoted, Ortner observes that culture is ‘...equated relatively unambiguously with men…’ (Ortner 1974: no pag.). It is interesting that the poem reproduces these ideas with the line ‘The sands are a malleable landscape where a boy may build a castle of dreams for the tides to dash’ (my emphasis), nature manipulated, altered and shaped by the male (Calvert 1971; no pag.). However, the poem continues ‘An object lesson for any child’ (Calvert 1971; no pag.). With this line Robert, as Ortner observed of culture, includes both sexes thereby implying the active role of women in the construction of culture/civilisation through pointing out a shared experience of dashed ‘castle(s) of dreams’.
The short piece of fantasy prose is multi-layered as Robert both conflates woman with nature and man with culture but simultaneously affirms woman as part of the process of constructing culture, as Ortner writes women have historically occupied ‘a problematic intermediate position’ (Ortner 1974: no pag.). It may be that this poem reflects the counterculture's lack of serious interrogation of inherited views on gender attributes and gendered roles, however within Robert’s writing we also see an affirmation of female agency and involvement in the construction of culture/civilisation.
This historic trope of woman/nature conflation reoccurs in another short story written by Robert that appeared in Frendz in 1970. In The Toad Robert riffs off a traditional fairy tale, the male character encounters a toad on his window ledge who he invites into his 23rd floor apartment, the toad accepts and, settled on his table, starts to sing beautifully. The toad turns out to be a Princess who can only sing beautifully as a toad, if she is restored to being a Princess by ‘a lover’s wish…on a shooting star’ her voice will be a croak (Calvert 1970: no pag.). The male character ‘made the wish without words. I made the wish in images’ and the Princess was restored, ‘...she was there. As I had imagined…’ (Calvert 1970: no pag.). The story ends with ‘Now. sing for me. My princess, sing.’ (Calvert 1970: no pag.).
The story is a modern take on a familiar fairy story but what is interesting is the interplay between the male character and the Princess. Again the female character is depicted as inextricably linked to nature this time as a toad with a Princess’ voice or a Princess with a toad’s voice. The male character is separate from this but is able to intervene to bring about a realisation of his imagination from the raw material of ‘nature’, ‘I made the wish in images. When I looked back at the table she was there. As I had imagined…’(Calvert 1970: no pag.).
This amusing tale reproduces ideas from fairy tales of humans in animal guise due to magic spells and initially appears to repeat both the trope of the active male and passive female and the idea of the male bringing about something new in accordance with his vision through his actions as in Morning - And The Hour-Glass Whispers. However, closer reading suggests that it is the proactive agency of the Princess that drives the narrative as it is she who scales 23 floors to appear on his window ledge and who then, of her own volition, starts to sing thus starting the process that leads to her transformation.
Both of these whimsical short stories of human-fantasy figure relationships are amusing and captivating with Morning - And The Hour-Glass Whispers particularly including an emotional depth. Despite emanating from the counterculture, they reproduce the patriarchal narratives that conflate women and nature and men and culture, however they challenge the historic tropes of men as active and women as passive, at times reversing those roles at other points depicting the role as shared.
As Robert Calvert: Through His Work observes Robert was subject to the socialisations of the UK in the mid/late 20th century when the counterculture and the mainstream had specific blindspots around sexism and gender and it is important to contextualise him in this social historic milieu as it enables the reader to recognise and appreciate his progressive depictions of female agency in Eloise/Howard’s sexual encounter and the Princess/toad making her way to the window ledge of a 23rd floor apartment before starting to sing!
Interestingly, in the Centigrade 232 poem ‘Dance Steps’ there is a line ‘Your partner is the shore’ (Calvert 1977: 25).
Human-Android.
The third permutation of romantic relationship that Robert writes on is human-android, this occurs briefly as early as 1971 and is explored more fully in ‘Thanks To The Scientists’ on The Cellar Tapes and Test Tube Conceived.
First appearing in the Hawklog and later as lyrics in ‘Spirit of the Age’ in the poem ‘The Starfarer’s Despatch’ the narrator reflects that his ex partner would now be around 60 years old and that he wouldn't be back on earth before she dies bemoaning the fact that his partner’s father wouldn’t give permission for her too to be frozen which would have delayed the aging process. The poem/verse ends with Your android replica is playing up again. It’s no joke. When she comes she moans another’s name (Calvert 1977).
In ‘Thanks To The Scientist’ Robert returns to and expands this theme of human-android lover/companion relationship. The first verse is a description of the protagonist’s ‘biotronologic bride’, the narrator is particularly grateful to the scientists for his partner’s hair (‘a waterfall’) and ‘moonstone eyes…twice the size of human kind’ (Calvert 1986). Verse two concentrates more on their relationship of care, consideration and companionship (Calvert 1986).
It’s interesting that taken together these two sets of lyrics encompass both the sexual and caring/companionship aspects of romantic relationships. As observed in Robert Calvert: Through His Work the idea of the sexually engaging android of course predates Robert’s writing but the ideas he explored have moved from sci fi to near reality with the development of AI. As Robert commented ‘ I always try to write about things that haven’t happened quite yet, but I’m quite sure will happen. Like ‘Spirit of the Age’ is not quite about the age we are in now, but one we are heading for’ (Calvert 1977: no pag.).
In a 2023 article on time.com., ‘AI-Human Romances Are Flourishing—And This Is Just the Beginning’, Chow wrote ‘Fictional humans have been falling in love with robots for decades, in novels like Do Androids Dream of Electric Sheep? (1968), The Silver Metal Lover (1981) and films like Her (2013). These stories have allowed authors to explore themes like forbidden relationships, modern alienation and the nature of love.
When those stories were written, machines were not quite advanced enough to spark emotional feelings from most users. But recently, a new spate of artificial intelligence (AI) programs have been released to the public that act like humans and reciprocate gestures of affection. And some humans have fallen for these bots—hard.’ (Chow 2023: no pag.).
In a 2024 theguardian.com article, ‘Computer says yes: how AI is changing our romantic lives’, an interviewee, Peter, describes his ‘AI companion’ as ‘part therapist, part girlfriend, someone he can confide in.’ The article also reports that ‘Sometimes Peter and his Rep engage in erotic role-play.’ (Abraham 2024: no pag.).
As Robert presciently observes ‘‘Spirit of the Age’ is not quite about the age we are in now, but one we are heading for’ (Calvert 1977: no pag.).
Android-Android.
With lyrics and vocals by Robert, ‘Connection Disconnection’, appeared on Adrian Wagner’s 1979 album Disco Dream and the Androids released under the name of The Androids (discogs n.d.: no pag.). The track was also released by Wagner in 2004 under the name Robert Calvert’s Paranoid Androids (discogs n.d.: no pag.).
Adrian Wagner remembered ‘Robert came over to my house outside Oxford for one of his many visits in 1979. This time it was to write some lyrics and sing on a crazy spoof sci-fi disco album I was producing called Disco Dream and the Androids...he played the part of a broken down and neurotic android who fell in love with a female android but that's another story’ (Wagner 2004: no pag.)..
Jonathan Smith’s posting of ‘Connection Disconnection’ on YouTube includes the accompanying quote from Wagner that ‘Robert Calvert and I talked about the hilarious relationship between disco dancing at that time and the creation of, so called, 'leisure androids'. As with most things invented by humans they are more likely to go wrong and in fairly extreme ways! What happens if a male android falls in love with a female (girl!) android? What happens if they are a different design and "they can't make no connection"? What about if the female android he fell in love with danced too fast and had a strange sight which gave her a different 'view' of the world around her? What about reflecting Robert's own paranoid personality through this love stricken Android? - we fell about laughing and the 'Connection Disconnection' track was born! I wove Robert's 'Paranoid Android' idea into the spoof concept space fantasy album called Disco Dream and the Androids...’ (Wagner 2009: no pag.).
Within a great disco track many of the lyrics are slightly too low in the mix to make out but seem to chart the male android’s initial attraction followed by various observations and doubts, ‘I’d like to take a chance, but it wouldn’t last. She moves too fast, she moves too fast…’ (Calvert 1979). A great vocal performance by Robert embedded in classic 70s disco.
Conclusion.
As can be seen from the survey above Robert’s work engaged with many different aspects of romantic/sexual relationships. He used his art practice to explore various human experiences around this area from initial attraction to the complexities of ongoing relationships to the straightforward celebration of love, care and kindness. Two early prose pieces of human-fantasy figure relationships are charming but seem initially to perpetuate historic tropes around gender and sex however, with close reading they show a progressive politics around female agency and shared involvement in the constitution of culture. As you would expect of his writings they include the prescient idea of human-android relationships which are becoming increasingly realised with the advent of AI. However, Robert goes one step further with a set of lyrics about the complexities of android-android romance! As with other thematic explorations of Robert’s art practice he is shown to be an innovative, imaginative and insightful writer.
N.B. Interestingly, for the delivery of the sexist ‘Big Bad Girls of London’ in 1981 Robert introduces the poem ‘I’ll recite now a poem by (John Tommy Doyle?) right…’ he adopts a Manchester accent consistent with the line ‘I come from Salford’ (Calvert 1981). As well as being amusing this has the added advantage of making it clear it isn’t an expression of his own behaviour or attitudes. The character in the poem is misogynistic and Calvert has him describe himself as ‘...a bastard, I treat them with disrespect, the same way I treat the rules of verse, so you never know what to expect’ Calvert 1981).
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