Thinking about Finland

A huge folder full of my letters from Finland

Many years ago, after my parents died, we cleared their house. Fortunately, we could take our time over the task. We kept what we wanted, gave things away to their and our friends, and sold what we didn't need. Among the things we treasured were several boxes of 'keepsakes'. Some of them had been stored in their loft since I came home from university. 

I didn't settle anywhere for very long, till 1980, when I moved in with Alan, who would become my husband. First I went to Leeds University to do a Postgraduate Masters in Folk Life Studies, but then, instead of looking for museum work (the obvious choice) I did a summer school in teaching English as a Foreign Language and in 1975, I set off for Tampere in Finland, to teach English to adults. This sometimes involved business English, often conversation with groups, occasionally complete beginners (challenging when I didn't speak Finnish!) and quite a lot of one to one sessions. 

A few weeks ago, when I was searching these keepsake boxes for something else altogether, I found a great bundle of letters I had written to my parents, starting with my arrival in Finland in the autumn of 1975. I worked there for two years, but for some reason, my parents had only kept the letters from my first year in Tampere and a few from my return to Finland in autumn 76. 

I spent hours sorting them into date order and reading through them. I was an enthusiastic correspondent back then, and it was clear that mum and dad wrote back, although sadly, all their letters are missing. Sometimes, I would write two or three letters a week, but post them all at once, so some of the envelopes were very fat. I would add little drawings to some of them, to illustrate what I was writing about. 

It makes me a little sad that this kind of correspondence no longer exists for most of us, although I suppose blogs like this one fulfil the same purpose - but without the spontaneity, the immediacy and intimacy. 

It astonished me how many things I didn't remember till reminded by these letters. Memory is very strange and very fluid. I had certain events fixed in my mind, the 'stories' I told myself. But as I read through this long and detailed correspondence, it struck me that over time, I had edited my own memories. Well, some of the correspondence was edited as well, given that I was writing to my parents, but not in quite the same way. Most of it was written in longhand, spontaneously, late at night, and I seldom crossed anything out. 

I was working long hours, having the time of my life (most of us teachers were young, footloose and fancy free) and just loving the country, the people and the landscape. I was writing about it because of course I was also writing my own work: poems, stories, plays and the first draft of a novel. I'm not sure where I found the time, but I did. 

Among the keepsakes was the typescript of a novel which I seem to remember one of my students typing up for me. I had filed it away as 'not very good' but now, I think that judgment came from UK publishing's reluctance at that time to publish anything with a remotely 'foreign' setting. Rereading the first couple of chapters, I reckon it's worth revisiting - a curious little story set in Finland, that I'll probably retype, rework and publish for my own satisfaction. As for the letters - well, I'll type those up as well, immersing myself in that time and place. I may even publish an edited version of them. 

Meanwhile, there's a certain symmetry in the notion that our video game designer son is currently so much at home in Scandinavia. 

Luminate - What Went Wrong?

 

Back in October 2017, I remember becoming aware of a Scottish Festival of Creative Ageing, organised under the umbrella of an organisation called Luminate. You can still have a look at the brochure online. I went to one of the 2017 events: a Creative Ageing Day in Ayr Town Hall. 

It was described as 'A fun, explorative event which aims to generate some genuinely creative thinking through a range of hands-on workshops, performances, talks and screenings of short films. There will also be a marketplace to promote local opportunities for creative learning, arts and cultural activities.' 

It certainly was a fun day, most notably because it seemed to involve mostly older people doing their own creative thing. By themselves, for themselves, with plenty of enthusiasm and skill.

A glance through the brochure for the whole festival shows a variety of excellent events run by all kinds of groups throughout Scotland. There was Irvine Community Art Club, 'a group of retired people who share a passion for art.' There was traditional jazz, a life affirming drama about a son accompanying his elderly father on a trip back to India, and an inter-generational photography project. There was an event called Celebrate National Grandparents Day by taking part (with your grandchildren) in a workshop run by an experienced traditional carpenter. This included 'A chance to use axes, draw knives and chisels in an appropriate and safe manner to make a small piece to take home.' There were tapestry and other craft workshops for adults and children or grandchildren, a workshop on Muriel Spark, something called Thrawn Craws, a Murder of Writers aged between 40 and 80, committed to writing for older actors. ('We invite you to join us as we present important stories about the many facets of love in contemporary Scotland.') There were dance classes for the over 60s and Prime, an over-60s semi-professional company presented a series of bespoke two minute solos, created by top Scottish choreographers for individual company members. 

The whole programme was full of interesting, exciting, entertaining events with the aim of showing that older people are already wise and creative, and that when you provide opportunities and mix up the generations, without patronising, something wonderful can happen. 

Then have a look at this. 

Do you spot the difference? The way in which the whole venture has become didactic (Creativity for carers, anyone?) rather than exciting and inspirational. 

What went wrong? How, in five short years, could something that was so vibrant, so interesting, and so positive become a project almost wholly aimed at facilitating (they're very fond of that word) younger creatives to teach us poor oldies how to be creative in our dotage. The creative practitioner as a sort of cut price social worker promoting our 'wellbeing' (another buzz word) whether we want it or not.

Why and how did this happen? Was it a political decision? If so, it was a bad one. The creative arts are always worth engaging with, in and for themselves, not as some kind of short cut to 'mental health'. 

All I know is that something that started out full of life and vibrancy, seems to have become stodgy, pedestrian and faintly patronizing. 'Let's find something for the poor old folks to do' and 'let's train our young creatives to facilitate them.'

Am I alone in finding this profoundly depressing? Especially compared with how it all began? 

Celebrating Creative Change and Transition, Whatever Your Age.

Wordsworth's couch. Doesn't look too comfy, does it?

From time to time, I meet up with a good friend, an artist, and we set the world - and ourselves - to rights over coffee and scones. (Wordsworth liked to lie on his couch, in vacant or in pensive mood, but we like to chat.) A few things strike us about these meetings: how nice it is to meet up with a like minded person, and how helpful it can be to talk about work and motivation, why and how we do what we do, and what we feel about it. It helps that we're both creative but work in different areas of creativity. It's amazing how often insights emerge from these conversations as we explore the differences and similarities between our respective practices. My friend has been doing serious research into ageing and creativity and as we grow older, but still remain creative, we inevitably find ourselves thinking and talking about the challenges the years bring.

It's all useful, but just occasionally, a vital insight seems to emerge.

Ageing, when you're working in the so called 'creative industries' can be a demoralising business. Especially, I suspect, when you're female, although men don't have it easy either. At a time when you might be reaping the rewards of a lifetime of creative practice you can suddenly find that professionally, you've disappeared. Women, especially find this.  You feel more confident, wiser and, in many ways, at the peak of your game. And yet, that's not how the world sees you, not even the world in which you may have lived and worked hard for years.

Read this long and intensely interesting interview with Anjelica Houston for example. She's of an age when she can say exactly what she thinks. I love it when she says 'I’m looking for movies that ... aren’t apologetically humble or humiliating like, “Band of cheerleaders gets back together for one last hurrah,” you know.'

Only this week I found myself facing the realisation that a decent amount of successful work in a particular field - not, fortunately, the one which means most to me right now - counted for absolutely nothing. I had become invisible. But this isn't a rant. Not this week, anyway! And all it did was confirm for me that I'm heading in the right direction. That I don't have to be apologetically humble. That I don't even have to try to go back to a part of my creativity that no longer serves me well.

Throughout my creative career, I've encountered periods of quite radical change and development, periods of transition, where the kind of work I once did, the work that once satisfied me, no longer suited me. So I moved on. Sometimes that was a slow process, and sometimes it happened almost overnight. Occasionally, I looked back to themes or ways of working that had once excited me and picked them up again with the benefit of experience. In fact that's what happened with my latest book, A Proper Person To Be Detained, the true story of a murder in my own Leeds Irish family, in 1881. I had often thought of writing about it, but it was only a couple of years ago that the time suddenly seemed right, that I felt myself capable of undertaking the project.

When I was young, or even middle aged, these periods of change and transition didn't feel wrong. They may have been challenging but they were exciting. And one of the reasons why they were exciting was that they always felt like a part of some kind of creative cycle. One way of working no longer suited, but another one did. So I took what I needed from the old, shrugged off the rest, and moved on. There was work to be done, and wasn't that good?

As older writers or artists or musicians, though, we have to contend with the almost constant brainwashing about ageing, failure and diminishing powers that surrounds us. Our media, whether it's television, radio, social media or newspapers, constantly bombard us with negativity about ageing. It could be 'Parsnip Man' and June, rabbiting on about funeral plans, or those hideous headless pictures of very old people trudging along with their walkers: you know, the ones that they always show over headlines about bed blockers or elderly abuse. See enough of them, and you do start to wonder whether it wouldn't be better to head off into the wilderness now, before they get to you.

The other thing that happens to you is that if and when you find yourself in one of these inevitable and hitherto quite exciting transitional periods, you may put it all down to ageing. When for most of us, it's nothing of the kind.

Think about it. Much more likely is that it's just one more phase of a long career in creativity. Change is inevitable, but often it can be wonderfully empowering. And that should be welcomed and celebrated. Shouldn't it?

However young or old you are.