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Spike Milligan has had an undisputable influence on English-language comedy in the past half-century. Monty Python’s Terry Jones cites the “free-wheeling fantasy world” Milligan created for the surreal radio series The Goon Show as the chief inspiration for his own group’s more internationally-famous work. However, Milligan’s writing for The Goon Show, which first aired between 1951 and 1960 displays a depth beyond “the confidence to be silly” noted by Python’s Michael Palin. Milligan’s scripts reveal a deliberate, if not wholly conscious, rejection of the laws of causality and probability, through frequent and systematic distortions of time and space. The fictional world revealed in The Goon Show’s corpus of half-hour stories is one in which concepts relating to time and space lack the fixed meanings that we attach to them in everyday life. Temporal and spatial relationships are fluid and indeterminate: boundaries between different times and different spaces can dissolve, allowing mutually inconsistent chronologies and scales of size and distance to coexist. The world-view underlying this is governed by an inversion of the generally-agreed-upon relationship between observable phenomena and individual perception. Rather than using the outside world as a source of data from which to construct models of ‘objective’ reality, Milligan allows his characters’ own words to modify the given conditions of any situation. This quasimagical principle of storytelling mirrors cognitive strategies used by children in their primaryschool years to grasp and describe the complexities of time and space. Childlike and lighthearted as it often is, The Goon Show’s twisting of time and space has a parallel to some highly complex ‘grown-up’ thinking. Its implicit rejection of the self-evidence

Spike Milligan's Accordion: The Distortion of Time and Space in the Goon Show