ANDREW O’HAGAN
THE SECRET LIFE
Three True Stories
for
Jane Swan
There is another world, but it is in this one.
PAUL ELUARD
CONTENTS
Title Page
Dedication
Epigraph
Foreword
Ghosting
The Invention of Ronald Pinn
The Satoshi Affair
Acknowledgements
About the Author
Also by the Author
Copyright
FOREWORD
When you write novels, you take from the world what you must, and give back what you can, and you take it for granted that the imagination is sovereign. But what happens when you are writing a reported story? Isn’t it dictated by matters of fact and therefore outside the imagination? My proposition in this book is that the separation won’t hold, especially not in the world now. When I’m reporting I feel less like a news gatherer and more like an actuality seeker, someone for whom the techniques of fiction are never foreign and seldom inappropriate. The people I write about tend to inhabit a reality that they make for themselves or that in other ways consorts with fiction, and one is required to enter their ether and dance with their shades in order to find the story. When I was a young reader, I learned from the poets not to trust reality – ‘reality is a cliché from which we escape by metaphor,’ Wallace Stevens wrote – and the leading figures in this non-fiction book, each of whom is real or began real, depend for their existence and their power in the world on a high degree of artificiality.
It is the habit of the times to organise the ironies embedded in this state of affairs and call it culture. (Just look at reality TV.) And the creative writer, given what I’ve said about metaphor, may have a head start when it comes to investigating that culture – which is why we would do well, now and then, to open the notepad and turn on the recording device. Asked which of the arts was closest to writing, Norman Mailer once told me the answer was ‘acting’. He talked about an essential loss of ego, a circumstance that most people wouldn’t associate with him. But the principle will be familiar to writers of fiction and non-fiction who are always on the look-out for a second life, believing it must be a writer’s business to invest freely in self-transcendence. I believe that is what Scott Fitzgerald meant when he said there can be no reliable biography of a writer, ‘because a writer is too many people if he is any good’.
We were addicted to the ailments of the web long before we understood how the technology would change our lives. In a sense it gave the tools of fiction-making to everybody equally, so long as they had access to a computer and a willingness to swim into the internet’s deep well of otherness. J. G. Ballard predicted that the writer would no longer have a role in society – he would soon become superfluous, like those characters in nineteenth-century Russian novels. ‘Given that external reality is a fiction,’ Ballard wrote, ‘he does not need to invent the fiction because it is already there.’ Every day on the web you see his point being made; it is a marketplace of selfhood. With email, everyone can communicate both instantly and invisibly, either as themselves or someone else. There are 67 million ‘invented’ names on Facebook, many of them clearly living another life, less ordinary, or at any rate less checkable. Nobody knows who they really are. Encryption has made the average user a ghost – an alias, a simulacrum, a reflection. In this climate, only our buying power makes us real, and what self we have is open to offers of improvement – new eye colour, better insurance, slimmer body – from marketing firms and mobile phone companies before they hand our data to governments, who aim to make us visible again in the interests of national security.
In W. H. Auden’s The Age of Anxiety we meet Quant, a man who sees his own reflection in the mirror of a New York bar, surrounded by a ‘facetious culture’, by which he meant a factitious one. It seemed to Auden an aspect of modern life that a man might see no correspondence between his social or economic position and his private mental life. Quant speaks to himself in the mirror. ‘My double, my dear image,’ he says, ‘Is it lively there’ in ‘that land of glass’? ‘Does your self like mine / Taste of untruth?’ I think of Auden’s poem when I consider the two generations who have now spent their time looking at the glass of their computer screens. What have we been looking for? Is it lively there? And have we grown addicted to the taste of untruth? The internet offers a secret life to everybody, but how it happens, and who controls it, stirred me to write these stories. On every bright acre of the web, your personal data is harvested to furnish a neural network, a global mind, and your reward is to feel you contain multitudes.
In 1964, thirteen years before Apple sold its first home computer, Joseph Mitchell opened a profile in the New Yorker with the following sentence: ‘Joe Gould was an odd and penniless and unemployable little man who came to the city in 1916 and ducked and dodged and held on as hard as he could for over thirty-five years.’ Mitchell had written about Gould in the magazine twenty-two years before, but his new story, ‘Joe Gould’s Secret’, summoned the cloud of uncertainty surrounding the man’s great masterwork, The Oral History of Our Time, which Gould claimed to have spent several decades working on. Joseph Mitchell reported that Gould had never really started the book and it was all just blank pages. Yet, more recently, the writer Jill Lepore has unearthed material from the Oral History and she demonstrates that ‘Joe Gould’s Secret’ has fictional elements. ‘Two writers guard an archive,’ Lepore says. ‘One writes Fiction; the other writes Fact. To get past them, you have to figure out which is which. Mitchell said that Gould made things up. But Gould said that Mitchell did.’ What we know for sure is that Joseph Mitchell had a secret of his own: he had never written a word of the Joycean novel about New York that he said he would write. He lived for more than thirty years after his second Joe Gould piece came out, but never published another word. The conversation between a writer and his subjects is often, as Wordsworth said, too deep for tears, and it can involve finding sentences for realities and correspondences that are invisible to the naked eye. Such difficulties have always interested me. They inform my sense of life. Moreover, I find that literature, formerly the main arena of double lives, now takes second place to the web, where nobody today can be simply one thing.
The stories in this book were written from the wild west of the internet, before policing or a code of decency. We still don’t have good manners or clear professional ethics, and the new ontological arrangements of the internet are yet to become second nature. I set out to write stories that might swim in the ethical mire of all that, and here they are, together. There is nothing general about these stories: even in the wider context of the net, my three case studies are individual, and in many ways they are typical of nothing but themselves. WikiLeaks founder Julian Assange is not a typical figure of the Internet Age any more than Charles Foster Kane is a typical character from the Age of Newspapers. The purported bitcoin creator Craig Wright is a highly eccentric respondent, on the cusp of digital currency, to the financial crisis of 2008, and his inner trials interested me for their own sake. Ronald Pinn, a digital person I invented based on a young man who died thirty years ago, is between them, a man of the moment perhaps but also an element in experimental journalism, a person both true and not true, around whom the question of existence swirls like snow. Every man has his own Rosebud, and it was never my intention to suggest that these three cases represented the whole internet, or, heaven save us, the modern man of today. They fascinated me personally. In looking at arguments of power, freedom, transparency, corporate power, economic control, illicit markets, and the manipulation of identity, I independently found myself entangled with these three
individuals. They might each tell a story about the times we are living in, but none of them is universal, and they come from what Alexander Star described to me as ‘the bleeding edge of the internet’.
I have spoken of the way the web has made self-creators of us all, yet the people I write about in this book, whether they like it or not, are both masters of the internet and victims of it. These were men in trouble and I felt I was reporting not merely from a cultural front but from a psychological one. In one way or another, these figures or their representatives sought me out, looking for someone to tell their story, but none of the stories I was able to tell is one they would have wanted. In each case it turned out to be a story about how an online self and a real self might constantly be at war with each other. All told, I spent several years in the company of these men, and they revealed to me – amid the buzz and boom and sludge of the internet – that human problems remain human problems, and the higher work of computers doesn’t erase that.
These men I have written about were all, in one way or another, on the run, and I felt moved to ask who and what they were running from. There are CEOs, gamers, whizz-kids, Silicon Valley entrepreneurs, who thrive via the internet, and they are not outlaws and their story of the internet would be very different. But I found men who are ghosts in the gleaming machine and who raise a question or two.
One of a writer’s rewards is to find himself alive in the detail of his stories, and the Age of the Internet provides a whole new funfair of existential provocations. In my childhood the visiting funfair was called ‘The Shows’, and that is how I think of these tales, as bulletins from the edge of modern selfhood, as non-fiction novellas, where a few carnivalesque men are bent out of shape – by their pasts, by their ambitions or by their illusions – under the internet’s big tent. In a world where everybody can be anybody, where being real is no big deal, I wanted to work back to the human problems, and that is what drives these stories, the sense that our computers are not yet ourselves. In a hall of mirrors we only seem like someone else.
GHOSTING
On 5 January 2011, at 8.30 p.m., I was messing about at home when the phone buzzed on the sofa. It was a text from Jamie Byng, the publisher of Canongate. ‘Are you about?’ it said. ‘I have a somewhat left-field idea. It’s potentially very exciting. But I need to discuss urgently.’ Canongate had bought, for £600,000, a memoir by the WikiLeaks founder, Julian Assange. The book had also been bought for a high sum by Sonny Mehta at Knopf in New York and Jamie had sold foreign rights to a slew of big houses. He said he expected it to be published in forty languages. Assange didn’t want to write the book himself and he hoped the book’s ghostwriter could be somebody who didn’t already know a lot about him. I told Jamie that I’d seen Assange in London at the Frontline Club, a watering hole for foreign correspondents, the year before, when WikiLeaks released its first stories, and that he was really interesting but odd, maybe even on the autism spectrum. Jamie agreed, but said it was an amazing story. ‘He wants a kind of manifesto, a book that will reflect this great big generational shift.’ He’d been to see Assange in Norfolk and was going again the next day. He said he and the agent Caroline Michel had suggested me for the job and that Assange wanted to meet me. I knew they’d been talking to other writers, and I was at first sceptical.
It’s not unusual for published writers to get requests to write things anonymously. How much did Alex Haley protect Malcolm X when he ghosted his autobiography? To what extent did Ted Sorensen create the verbal manner of John F. Kennedy when he wrote Profiles in Courage, a book for which the future president won the Pulitzer Prize? And are the science fiction stories H. P. Lovecraft ghosted for Harry Houdini not the best things he ever wrote? There would be a touch of all this in the strange case of Assange. But there is something else about the genre, a sense that the world might be more ghosted now than at any time in history. Isn’t Wikipedia entirely ghosted? Isn’t half of Facebook? Isn’t the World Wide Web a new ether, in which we are all haunted by ghostwriters?
I had written about missing persons and celebrity, about secrecy and conflict, and I knew from the start that this story might be an insider’s job. However it came, and however I unearthed it or inflected it, the Assange story would be consistent with my instinct to walk the unstable border between fiction and non-fiction, to see how porous the parameters between invention and personality are. I remembered Victor Maskell, the art historian and spy in John Banville’s The Untouchable, who liked to quote Diderot: ‘We erect a statue in our own image inside ourselves – idealised, you know, but still recognisable – and then spend our lives engaged in the effort to make ourselves into its likeness.’ The fact that the WikiLeaks story was playing out against a global argument over privacy, secrets and the abuse of military power left me thinking that if anyone was weird enough for this story it was me.
At five thirty the next evening Jamie arrived at my flat with his editorial colleague Nick Davies. (Mental health warning: there are two people named Nick Davies in this story. This one worked for Canongate; the second is a well-known reporter for the Guardian.) They had just come back on the train from Norfolk. Jamie said that Assange had accidentally poked his eye with a log or something, so had sat through three hours of discussion with his eyes closed. They were going to advertise the book for April. It was to be called WikiLeaks versus the World: My Story by Julian Assange. They said I would have a percentage of the royalties in every territory and Julian was happy with that. We talked about the deal and then Jamie went into detail about the security issues. ‘Are you ready to have your phone tapped by the CIA?’ he asked. He said Julian insisted the book would have to be written on a laptop that had no internet access.
When I arrived at Ellingham Hall Assange was fast asleep. He’d been living there, at the house of Vaughan Smith, one of his sureties and founder of the Frontline Club, since his arrest on Swedish rape allegations. He was effectively under house arrest and wearing an electronic tag on his leg. He would sign in at Beccles police station every afternoon, proving he hadn’t done a runner in the night. Assange and his associates kept hackers’ hours: up all night and asleep half the day, one of the little bits of chaos that would come to characterise the circus I was about to enter. Ellingham Hall is a draughty country residence with stags’ heads in the hall. In the dining room there were laptops everywhere. Sarah Harrison, Assange’s personal assistant and girlfriend, was wearing a woolly jumper and kept scraping her ringlets off her face. Another girl, maybe Spanish or South American or Eastern European, came into the drawing room, where the fire was blazing. I stood at the windows looking at the tall trees outside.
Sarah made me a cup of tea and the other girl brought it into the room with a plate of chocolate biscuits. ‘I’m always trying to think of new ways to wake him up,’ she said. ‘The cleaner just barges in. It’s the only way.’ He soon came padding into the room in socks and a suit.
‘I’m sorry I’m late,’ he said. He was amused and suspicious at the same time, a nice combination I thought, and there were few signs of the mad unprofessionalism to come. He said the thing that worried him was how quickly the book had to be written. It would be hard to establish a structure that would work. He went on to say that he might be in jail soon and that might not be bad for writing the book. ‘I have quite abstract thoughts,’ he said, ‘and an argument about civilisation and secrecy that needs to be got down.’
He said he’d hoped to have something that read like Hemingway. ‘When people have been put in prison who might never have had time to write, the thing they write can be galvanising and amazing. I wouldn’t say this publicly, but Hitler wrote Mein Kampf in prison.’ He admitted it wasn’t a great book but it wouldn’t have been written if Hitler had not been put away. He said that Tim Geithner, the US secretary of the treasury, had been asked to look into ways to hinder companies that would profit from subversive organisations. That meant Knopf would come under fire for publishing the book.
I asked him if
he had a working title yet and he said, to laughter, ‘Yes. Ban This Book: From Swedish Whores to Pentagon Bores.’ It was interesting to see how he parried with some notion of himself as a public figure, as a rock star really, when all the activists I’ve ever known tend to see themselves as marginal and possibly eccentric figures. Assange referred a number of times to the fact that people were in love with him, but I couldn’t see the coolness, the charisma he took for granted. He spoke at length about his ‘enemies’, mainly the Guardian and the New York Times.
Julian’s relationship with the Guardian, which appeared to obsess him, went back to his original agreement to let them publish material that WikiLeaks had procured, it turned out, from Chelsea (then Bradley) Manning, a giant cache of coalition war logs that gave details of military incidents in Afghanistan. Julian quickly fell out with the journalists and editors at the Guardian – essentially over questions of power and ownership – and by the time I took up with him felt ‘double-crossed’ by them. It was an early sign of the way he viewed ‘collaboration’: the Guardian was an enemy because he’d ‘given’ them something and they hadn’t toed the line, whereas the Daily Mail was almost respected for finding him entirely abominable. The Guardian tried to soothe him – its editor then, Alan Rusbridger, showed concern for his position, as did his deputy editor, Ian Katz, and others – but he talked about its journalists in savage terms. The Guardian felt strongly that the secret material ought to be redacted to protect informants or bystanders named in it, and Julian was inconsistent about that. I never believed he wanted to endanger such people, but he chose to interpret the Guardian’s concern as ‘cowardice’.
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