At the beginning of the second half, Mick Jones wriggled to the byline and crossed for Allan Clarke to score for Leeds with a ridiculously effortless nod of the head. Inevitably it was the only goal of the game. We hit the post or the bar or something, and had a shot kicked off the line, but these were token Cup Final moments, not to be taken seriously; you could see that the Arsenal players understood the pointlessness of their effort.
As the end of the game approached I braced myself for the grief that I knew would swallow me whole, as it had done after the Swindon match. I was fifteen, and the option of tears was not available as it had been in 1969; when the final whistle went I can recall my knees buckling slightly. I didn’t feel sorry for the team or for the rest of the fans, but for myself, although now I realise that all football sorrow takes this form. When our teams lose at Wembley we think of the colleagues and classmates we have to face on Monday morning, and of the delirium that has been denied us; it seems inconceivable that we will allow ourselves to be this vulnerable ever again. I felt that I didn’t have the courage to be a football fan. How could I contemplate going through this again? Was I going to come to Wembley every three or four years for the rest of my life and end up feeling like this?
I felt an arm around my shoulders and realised for the first time that I was standing next to three Leeds fans, an old man, his son, and his grandson. “Never mind, lad,” said the old man. “They’ll be back.” For a moment it felt as though he was holding me upright, until the first and most intense spasm of misery passed and I regained the strength in my legs. Almost immediately a couple of Arsenal suedeheads with an unmistakable and ominous fury in their eyes pushed their way through the crowd towards the four of us. I stepped back, and they removed the Leeds scarf that was around the little boy’s neck. “Give that back,” his dad said, but only because he knew it would be a weak father who said nothing, not in any expectation of success. There was a brief windmilling of fists and the two older men staggered backwards; I didn’t stay around to find out what kind of beating they took. I ran for the gangway and went straight home, frightened and sick. It was the only manner, really, in which the Centenary Cup Final could have ended.
A New Family
ARSENAL v WOLVES
15.8.72
Over the summer of 1972, things changed. Arsenal, the most British (that is to say, the dourest and most aggressive) team you could imagine, went all continental on us, and for half a dozen games at the start of the 72/73 season decided to play Total Football. (This, for the benefit of those with only a sketchy grasp of football tactics, was a Dutch invention which necessitated flexibility from all the players on the pitch. Defenders were required to attack, attackers to play in mid-field; it was football’s version of post-modernism, and the intellectuals loved it.) That August at Highbury, gentle and appreciative applause was as familiar a sound as sixty thousand shuffling feet had been a couple of years earlier. Imagine Mrs Thatcher coming back from Brussels and lecturing us on the perils of jingoism, and you will have some idea of the improbability of the conversion.
A win at Leicester on the opening Saturday was followed by this destruction of Wolves (5-2, with goals from defenders McNab and Simpson). “I have never been so excited by an Arsenal performance,” said the man in the Daily Mail the next morning. “They played more good football than in a dozen matches in their Double year.” “Arsenal have genuinely changed their nature,” said the Telegraph. “The old hardness and obsessive search for the heads of the strikers have disappeared. Instead, as hapless Wolves discovered, there is a new inventiveness and improvisation.”
For the first, but certainly not the last, time, I began to believe that Arsenal’s moods and fortunes somehow reflected my own. It wasn’t so much that we were both playing brilliantly and winning (although my two recent O-level passes were all the proof I needed that I was a genuine Championship of Life contender); more that during the summer of 1972 my life seemed to me to have become suddenly and bewilderingly exotic, and my team’s mysterious adoption of a flamboyant continental style was perfectly and inexplicably analogous. Everything about the Wolves game was disorienting—the five goals, the quality of the passing (Alan Ball was outstanding), the purr of the crowd, the genuine enthusiasm of a normally hostile press. And I watched all this from the Lower East Stand with my father and my stepmother, a woman I had met just a few weeks earlier and whom I had previously always thought of, when I had thought of her at all, simply as The Enemy.
In the four or five years since my parents’ separation, I had asked my father almost nothing about his personal life. Part of this was understandable: like most kids I possessed neither the vocabulary nor the nerve to talk about things like this. Another part of it was not quite as easy to explain, and had more to do with the fact that none of us ever referred to what had happened if we could possibly avoid doing so. Even though I was aware that there had been Another Woman when my father left, I never asked him about her; my picture of my father was therefore curiously incomplete. I knew that he worked, and that he lived abroad, but I never attempted to envision any sort of life for him: he took me to football, asked me about school and then disappeared for another couple of months into some sort of unimaginable limbo.
It was inevitable that sooner or later I would be made to confront the fact that Dad, like all of us, had another, fuller context. That confrontation eventually occurred in the early summer of 1972, when I discovered that my father and his second wife were the parents of two small children. In July, the amazing news still undigested, I went to visit the undreamed-of family at their home in France. The fact that this set-up had hitherto been concealed from me meant that there had been none of the gradual accumulation of detail that usually occurs in such cases: like Mia Farrow in The Purple Rose of Cairo, dragged from the audience through the screen into a film by one of its characters, I was propelled into a world that had been imagined and completed without my participation, entirely alien but still somehow recognisable. My half-brother was small and dark and looked up to and after his little sister, eighteen months younger, blonde and bright and self-confident … where had I seen these two before? In our home movies, that’s where. But if they were us, Gill and I, why were they speaking half in French and half in English? And what was I supposed to be to them, a brother, or some kind of third parent, or something in between, a trainee intermediary from the adult world? And how come there was a swimming pool and a permanent supply of Coke in the fridge? I loved it and I hated it and I wanted to go home on the next plane and I wanted to stay for the rest of the summer.