I found the biography Like Aa Fiery Eliphant. The author says this about Fat Man on a Beach, when he saw it aged 13:
But there was a special
programme showing this evening, something that none of us wanted to miss. It
was going out on ITV (a channel we rarely watched, as a rule), was called Fat Man
on a Beach, and although we had never heard of the man presenting it, and al-
though its description in the television listings of the Daily Telegraph was enig-
matic to say the least, there was no doubt in our minds that it constituted essential
viewing. It was a documentary about Porth Ceiriad bay, a beach on the Lleyn penin-
sula in Gwynedd, north Wales. The place where we had taken our holidays every
year for the last decade or more. A place with which we were so familiar that I even
believe we had somehow come to feel ā in a way not untypical of English
holidaymakers in Wales ā that we owned it. That it belonged to us.
What did we expect from this programme? We expected to be flattered, I imag-
ine: to have our sense of familiarity and ownership flattered, played up to, with
shots of readily identifiable landmarks which would have us squawking, āThereās
the path to the caravan site!ā and āThereās the shop where we get the milk!ā Perhaps
we were even prepared, in a spirit of Reithian open-mindedness, to absorb a certain
amount of information about Welsh customs and the local population, which we
were at great pains to avoid during the two or three weeks of every year we spent
caravanning on the peninsula.
In the event, anyway, we got none of these things.
Instead we were expected to watch forty minutes of a fat man sitting in various
positions on the beach, and talking to us. And worse still, reading poetry! This man
appeared, on the surface, to be jolly enough: in looks and manner I have since
heard him compared variously to Max Bygraves, Tony Hancock and Tommy Coop-
er. His eyes seemed somehow wary and serious, though (āThe first thing I saw of
him when I opened the door was his eyes [. . .] their look that struck me as sad and
afraidāĀ¹) and the things that he spoke about, when they were not simply baffling,
were often gloomy. He told a long story about a man being thrown off his motor-
bike, his body being cut in two by a wire fence ālike a cheese cutter through
cheeseā, and described this story as āa metaphor for the way the human condition
seems to treat humankindā. He wandered off into philosophical digressions, telling
us that life was āreally all chaos . . . I cannot prove it is chaos any more than anyone
else can prove there is a pattern, or there is some sort of deity, but even if it is all
chaos, then letās celebrate the chaos. Letās celebrate the accidental. Does that make
us any the worse off? Are we any the worse off? There is still love; there is still hu-
mour.ā Somehow the man sounded uncertain of this, of the notion that chaos
could be ācelebratedā. It was not said in a very celebratory way. There was also
some footage of a dead sheep, zooming in to a close shot of its bloodied head.
We didnāt like this at all. We got up and turned the television off before the pro-
gramme had ended. I made my way dutifully up to bed.