But to go back to '69, I’d written... the way I’d wanted to write in 1969, but I couldn’t go on because I’d lost the manuscript – lost or destroyed the manuscript – I’ve said I... I had a bad history here. I had forgotten that I’d made a carbon copy of the manuscript and that I’d given it to Jonathan Miller. And in ‘72, in June of ‘72, Jonathan Miller took the typescript across the road to Duckworth, the publishers, and Colin Haycraft, his neighbour.
Gloucester Crescent was then, and perhaps is still, full of wonderful people, and Jonathan lived opposite Alan Bennett, and Alan Bennett was next door to Colin Haycraft and Duckworth. Colin did an amazing thing. I went to see Colin and he gave me the nine case histories in proof. Without consulting me or consulting anyone, he’d gone straight from uncorrected typescript into proof. And it was proof for me that he really thought the book was good. I don’t know how much money was needed then; this was, I think, a little before or only at the beginning of the advent of... of digital typesetting. I know with Migraine everything was done by hand, and I had these long, long proofs. So Colin... said, 'You’ve got to continue.' I spent three months in London that summer, and as I think I mentioned before I’d had a neck injury and I... I couldn’t... I was in a high collar and I couldn’t write or type. But it was in that summer, when I lived near Hampstead Heath, that I dictated... I didn’t dictate but I told the story of other patients to this shorthand typist. And in the evening would go down and discuss them and read them to my mother.