To me the seventies represent normality, and, of course, it is a normality that is now anachronistic.

I suppose I could say that to be interested in innocence already suggests a remove from innocence, perhaps a longing for something that is lost.

When we fail to live up to our ideals, for instance, we might begin to wonder who we are - most people are aware of a discrepancy, I think. There are idiosyncrasies and foibles, but we're not sure if these are essential. Some people think they are the most essential things of all.

Perhaps I can also add something about the rural setting of Remember You're a One-Ball! The countryside is a place - in mythological and perhaps in very real terms - of mixed innocence and sin. It is seen by townsfolk as idyllic, lazy, free of urban crime and social problems. But those who grow up in the country can tell stories that often surprise those who grow up in the towns.

I have a sense of them being Easter religions, for some reason. Christianity, of course, is a mystery religion, too, and I believe that Arthur Machen was one of those especially interested in the link between the pagan mysteries and the Christian ones. So, my experience was also a Machenesque experience.

1977 was also, of course, the year that Derek Jarman made his iconoclastic film Jubilee, which was so much part of the punk movement.

On the other hand, the seventies were drab. That is, I am utterly fascinated by the fifties and sixties.