I've spent a lot of time recently thinking about the process of writing, in a personal sense, of course. I can't make judgements for other people, only myself. And - you know - I increasingly feel that the online world tries to do just that. It's relentlessly judgemental - full of people, often spectacularly unsuccessful themselves - who are all too anxious to make sets of rules for other people to follow. I've been tempted down that route myself from time to time although frankly I've always been a bit of an anarchist.
I spend one day a week helping students with their academic writing but that is completely (and blissfully) different from dictating how people ought to write creatively. With so many years of experience in so many different areas of writing, I can look at a piece of academic work in a discipline I know nothing about and still make helpful suggestions. Often it's because I know very little about the subject under discussion that I can see the wood for the trees, and suggest what seem to me to be minor structural changes which - so people tell me - are often immensely helpful.
But creative writing? Well, I find myself increasingly reluctant to say anything about anybody else's work. I have a handful of writer friends - less than a handful, to be strictly accurate - for whom I do the odd bit of reading - as they do for me. I trust them, I hope they trust me. But I'm never really criticising what they do in the sense of judging it. I may interrogate the work itself and them from time to time, to give them a sense of how what they've written comes across to a friendly reader. I may reinforce their own doubts about certain aspects of the work with the occasional gentle query. (We always have doubts. I was going to say, even seasoned professionals. But I think they -we? - have more doubts than most. We all know enough to know what we don't know!) I will be scrupulously honest and as observant as I can be. And I often find myself praising what is genuinely wonderful in the hope that my feedback will help balance those doubts which do beset all writers from time to time. I like to think that I can be of some help - but I'm too busy wrestling with my own creative angels to be judgemental about anybody else's!
So over the past year, I have spent rather a lot of time thinking about what I write myself, and why. How I feel about it. How I want to feel about it. And why - over the past year - I seem to have ground inexorably to a halt in some aspects of my writing, while in others I am so full of ideas and experiments and insights that I hardly know where to begin. As writers we are naturally inventive. 'Where do you get your ideas from?' is an incomprehensible question to most writers. We are usually full of ideas and we neither know nor care where they come from. That's never the problem. The problem is all too often the translation of those thrilling ideas into words on the page. Because sometimes, you look at them and they seem so pedestrian. What soared in the mind limps along on the page.
Which leads me to the idea of reinvention. But it's late. And I'll save that for another post.
Politicians
Woke up this morning, and switched on the radio to hear a Labour politician pontificating in the teeth of the 10p Income Tax row. This - for those of you who may be reading this blog from elsewhere - involves our Labour Government which is supposed to look out for those on low incomes (one of the reasons why I, for one, voted for them) suddenly deciding to hit a significant cross section of low earners with increased taxes, while handing a few hundred pounds a year more to those who don't really need it. It has caused predictable ructions among back benchers. What really struck me about the interview though, was its uncanny similarity to a whole series of interviews with Tory politicians before their eventual debacle all those years ago. I remember them well. Not only would they never admit to being wrong, but in those peculiarly plumptious, moralising and deeply enraging tones which politicians always assume when they have become blinkered by power, they would tell us that we simply didn't understand what they were trying to do, ie we were thick, they knew best and if they could only speak slowly, loudly and clearly, so that we could get our poor little heads around it, we would be persuaded that they had been right all along.
This morning it was Labour's turn to assume that familiar, condescending, hectoring tone. I'm sure I heard somebody saying not that they might have got this one wrong (they sure have) but that they needed to 'explain their policies more clearly to the electorate'. Or some such guff.
Well here's some news. We don't need an explanation. We understand all too well, just as we understood back then. It may come as a surprise, but we just don't agree with you. You can explain till you're blue in the face, but it won't make a blind bit of difference. And - this being a democracy - you know what follows, fellows.
This morning it was Labour's turn to assume that familiar, condescending, hectoring tone. I'm sure I heard somebody saying not that they might have got this one wrong (they sure have) but that they needed to 'explain their policies more clearly to the electorate'. Or some such guff.
Well here's some news. We don't need an explanation. We understand all too well, just as we understood back then. It may come as a surprise, but we just don't agree with you. You can explain till you're blue in the face, but it won't make a blind bit of difference. And - this being a democracy - you know what follows, fellows.
Journalists versus Creative Writers
Not, of course, that there is - on the whole - that much difference between us. Most so called 'creative writers' I know have done, still do some journalism- as I do myself. Many novelists began their working lives as journalists. Many journalists become novelists, write stories or poems. But having just spent an interesting, and pleasurable day in the company of a group of full time journalists, I found myself realising that there is a big (and perhaps growing) difference between the ways in which our minds work.
My fellows on what was an informative and busy trip, aimed at allowing us to gather information about a particular event and write about it afterwards, were a mixed group of 7 or 8 more or less full time journalists from the US, London, Ireland and Germany. Several were involved in online magazines (in a couple of cases their own ventures). And at some point in the day it struck me that they have a completely different attitude from those friends and colleagues who are wholly involved in creative writing. It's more than confidence. I think they expect to be treated as valued professionals and guess what? Everyone round about them seems to live up to those expectations. I had to keep mentally pinching myself. I was with a group of writers who were discussing a booming business, and not how awful things were!
It got me thinking about how so often we, at the creative end, devalue ourselves. We constantly 'talk' failure, and don't seem to have the confidence of our own professionalism. Just as an example, last year, when I was commissioned to write about the wonderful Drovers' Inn on Loch Lomondside for a magazine, it never even occurred to me to tell the management what I was doing. Any of these (in some cases much younger) people would have set the whole thing up in advance, been well treated, and paid out not a bean. And why not, if they are going to be using their expertise in the service of one business to promote another? Consultants, even in the strapped for cash arts, get very handsomely rewarded for their services!
I know of course that many forms of writing are undertaken purely for pleasure, or in a spirit of exploration, and those are never going to pay well. But - perhaps because we spend so much of our time on those aspects of our work - we forget that there is a business end of the market. And when we are involved in it, we forget or perhaps are too timid to value ourselves and what we do, so it should come as no surprise when other people take us at our own valuation, and treat us accordingly. Some years ago, I was asked to attend a script meeting about a BBC radio production, in Edinburgh. There was, said the producer, 'no money in the kitty' to pay for travel expenses. So I went at my own expense. Any one of those young journalists would have said 'sorry, but no money, no meeting'. Not only would they have been right, but you can bet that the cash would have miraculously appeared from somewhere. It is high time that we changed our perspectives.
My fellows on what was an informative and busy trip, aimed at allowing us to gather information about a particular event and write about it afterwards, were a mixed group of 7 or 8 more or less full time journalists from the US, London, Ireland and Germany. Several were involved in online magazines (in a couple of cases their own ventures). And at some point in the day it struck me that they have a completely different attitude from those friends and colleagues who are wholly involved in creative writing. It's more than confidence. I think they expect to be treated as valued professionals and guess what? Everyone round about them seems to live up to those expectations. I had to keep mentally pinching myself. I was with a group of writers who were discussing a booming business, and not how awful things were!
It got me thinking about how so often we, at the creative end, devalue ourselves. We constantly 'talk' failure, and don't seem to have the confidence of our own professionalism. Just as an example, last year, when I was commissioned to write about the wonderful Drovers' Inn on Loch Lomondside for a magazine, it never even occurred to me to tell the management what I was doing. Any of these (in some cases much younger) people would have set the whole thing up in advance, been well treated, and paid out not a bean. And why not, if they are going to be using their expertise in the service of one business to promote another? Consultants, even in the strapped for cash arts, get very handsomely rewarded for their services!
I know of course that many forms of writing are undertaken purely for pleasure, or in a spirit of exploration, and those are never going to pay well. But - perhaps because we spend so much of our time on those aspects of our work - we forget that there is a business end of the market. And when we are involved in it, we forget or perhaps are too timid to value ourselves and what we do, so it should come as no surprise when other people take us at our own valuation, and treat us accordingly. Some years ago, I was asked to attend a script meeting about a BBC radio production, in Edinburgh. There was, said the producer, 'no money in the kitty' to pay for travel expenses. So I went at my own expense. Any one of those young journalists would have said 'sorry, but no money, no meeting'. Not only would they have been right, but you can bet that the cash would have miraculously appeared from somewhere. It is high time that we changed our perspectives.
Writing - Five Ways to Get Started
By which I mean 'get started in the morning or afternoon or evening' - whenever you write, in fact. But I don't mean 'get started' in general. To write, you really have to want to write. You have to have ideas, to live with people and places milling about your head, to see as a writer sees and hear as a writer hears, and have that essential desire to communicate. But all the same, sometimes it can be hard just to 'get going'. The blank screen is as bad as the blank page in that respect. You can spend plenty of time planning and plotting, even more time researching - particularly now that you can browse online. But sooner or later, you have to get down to it, and write something. And in my years of experience of running workshops, that can be the most difficult thing for people to do. It's a problem I have myself sometimes - now for instance - although for me it comes and goes a bit. And sooner or later, I know that I can bite the bullet and get down to it. But here are some of my own favourite ways to get started. All reasonable contributions welcome!
1 - Post to a blog. There is something about blogging that - for me at any rate - primes the pump, gets the words flowing. To be used with care though. All too easy to think that - having posted to your blog - you've actually achieved something. Well you have. You've achieved a blog post.
2 - Drink a mug of strong - real - coffee. Alcohol makes me think that I can write all kinds of brilliant things. I no longer believe it. Not, you understand, that I'm against it in principle. Just that it's deceptive. If you write under the influence of any mind altering substance, you'll soon realise that when you read back what you've written you'll be doomed to disappointment. But strong coffee - that always works for me.
3 - Stop while you are in mid creative flow. This is a really useful piece of advice and I can't remember who first gave it to me, so if I'm infringing anyone's copyright I apologise in advance, and will post a proper attribution! Do not stop at the end of a scene, or chapter. If you can bring yourself to do it, stop while you still want to go on rather than when you feel you are winding down. That way there's a chance that some of the magic will still be there when you resume the following day.
4 - Go for a long walk first. Not always possible I know, and not advice which I follow half enough myself, but there is something inspirational about walking, something that seems to lift the pressure and make you want to get started.
5 - Fall in love. I owe this rather startling piece of advice to Scottish poet Robert Burns who in a letter to Maria Riddell said that he had to be in love himself before he could write a really good love poem - or words to that effect. He had, let's face it, another agenda. But he was right in this as in so much else. Being in love - as I remember it - can be pretty inspirational - so long as you can control a certain disastrous tendency to write only about the object of your affections.
1 - Post to a blog. There is something about blogging that - for me at any rate - primes the pump, gets the words flowing. To be used with care though. All too easy to think that - having posted to your blog - you've actually achieved something. Well you have. You've achieved a blog post.
2 - Drink a mug of strong - real - coffee. Alcohol makes me think that I can write all kinds of brilliant things. I no longer believe it. Not, you understand, that I'm against it in principle. Just that it's deceptive. If you write under the influence of any mind altering substance, you'll soon realise that when you read back what you've written you'll be doomed to disappointment. But strong coffee - that always works for me.
3 - Stop while you are in mid creative flow. This is a really useful piece of advice and I can't remember who first gave it to me, so if I'm infringing anyone's copyright I apologise in advance, and will post a proper attribution! Do not stop at the end of a scene, or chapter. If you can bring yourself to do it, stop while you still want to go on rather than when you feel you are winding down. That way there's a chance that some of the magic will still be there when you resume the following day.
4 - Go for a long walk first. Not always possible I know, and not advice which I follow half enough myself, but there is something inspirational about walking, something that seems to lift the pressure and make you want to get started.
5 - Fall in love. I owe this rather startling piece of advice to Scottish poet Robert Burns who in a letter to Maria Riddell said that he had to be in love himself before he could write a really good love poem - or words to that effect. He had, let's face it, another agenda. But he was right in this as in so much else. Being in love - as I remember it - can be pretty inspirational - so long as you can control a certain disastrous tendency to write only about the object of your affections.
Time Management for Writers - The Reality and the Dream
I have realised over the past few years that this is not my forte but I seem to have grown infinitely worse as time has gone by and I'm not sure why. Maybe it's just that life has grown ever more complicated. I don't remember having quite this trouble when I was young and madly excited by whatever I happened to be working on at the time. Now there's the added complication of earning a living, doing that mysteriously expanding thing known as 'paperwork' and trying to help maintain a house and garden in something like full working order. I can perfectly well understand why certain writers have a dedicated office where they go 'out to work' every morning.
Once or twice I have assessed what exactly it is that distracts me from flat out work, and the list goes something like this -
Coax self out of bed about 7.30 (mornings are not my best time) and drink copious quantities of tea. Shower, dress, dry hair. Best ideas always occur in shower. Make some notes. Make bed. Sometimes change bed and sling washing in machine.
Check online business, The Scottish Home (antiques - our bread and butter these days) answer questions about listed items, send invoices where appropriate, etc. Sort out stock to list later on today, usually in the evening.
Field and answer various emails, often to do with writing of one kind or another. Promise self that will not check emails compulsively through the day in case amazing offer from publisher or preferably film maker is lurking in inbox.
Post has arrived. Mostly junk. Some bills. Visualise bills as cheques (Yes, I've read The Secret too!)
Wrap and address anything that has been sold. In the case of textiles this involves tissue paper, pretty stickers, nice postcards and envelopes. Presentation is important in this business.
Take packages to post office.
Do some PC maintenance. In extreme cases (like last Sunday for instance) this took up most of the day while I tried to restore elderly and sick PC to factory settings and then couldn't get printer to work. No disk. Found HP disk for other machine. Tried it. It worked. Miracle.
Make very large cafetiere of very strong coffee. Drink very large mug of said coffee.
Spend a little while blogging - make resolution not to spend too much time on this, but it does seem to prime the writing pump.
Do a bit of online research for latest project.
Read dissertations which students have sent via email. (Do one day a week on RLF fellowship at local university)
Sun is shining. Notice that all plants in conservatory are panting and wilting in heat. Water them. Drink second mug of coffee.
Husband says 'Can you just....' Could be anything from ordering paint and canvas to invoicing somebody. Remember that have not done any online banking for ages and everyday working account is probably overdrawn. Not disastrous since agreed overdraft, but should do it now. Am slightly horrified by falling balances and rising bills.
Ring at doorbell. Could be friends or relatives popping in for morning coffee, man to read electricity, oil or coal delivery etc etc etc.
Phone rings. Cannot ignore phone. May be publisher or film maker with unrepeatable offer. It is invariably somebody asking personal questions in an effort to sell me something. Either that, or friends, or relatives. Occasionally it's work. Always delighted when it is agent. Last week it was an American offering to sell us shares in an oil company. You must be joking, I said, and put the phone down. (Query, why do these people who have, after all, phoned you up always get quite shirty when you won't play ball?)
By now it's lunch time. Drink tea, eat large bowl of yoghurt. Will write this afternoon.
Sun is shining. Garden is a mess. Do garden and feel guilty about writing. Or do writing and feel equally guilty about garden.
Phone rings. Kwikfit offering to renew car insurance at reduced rate if I do it now. Decide to save time by doing it now. Answer questions about self and car. Have to go upstairs to find car documents.
Do photo session for listings later this evening while light is good.
Write. Bliss. Room is quiet. Radio is off.
Notice that there is a heap of bills, invoices, receipts waiting to be filed. File them.
Eat meal cooked by husband. Sometimes cook meal. Drink some wine. Government says women must not drink wine under pain of assorted apocalyptic disasters. Drink another glass in a spirit of anarchy.
Upload pics to PC and tweak them. Do some listings. This involves a lot of descriptive writing since bulk of antiques are textiles, vintage clothes etc. And measuring. And laundry. Finish blog post from this morning. Check emails and reply. Waste time on Facebook. Restrain self from looking at son's Facebook page. Must not spy on grown up offspring.
Watch an hour or so's TV.
Friend phones for a catch-up.
Make tea.
An hour later check online listings that are coming to an end and send out invoices.
Go to bed anytime between twelve and one and read for however long I can stay awake - sometimes an hour or more, sometimes ten minutes.
None of this - of course - includes shopping, buying antiques at auction, designing and ordering postcards for online business, ordering office supplies, putting in the washing, stacking the dishwasher, stain removing and laundering the old textiles, car booting, going to meetings, really doing the garden, dusting, baking and cleaning the loo. Husband always does more than his fair share. He even irons the textiles (much better at it than me.) It does not include having my hair cut and my teeth fixed and browsing bookshops and doing an art history course and looking at handbags in TK Maxx. Nor does it include my all time favourite occupation which is sitting in Caffe Nero, preferably very early in the morning, with cool music playing, drinking a very large capuccino (without chocolate on top.) and making notes for poems in the back of the little diary I always carry with me. Three cheers for Caffe Nero. I would actually be quite happy to spend all day working in there if they would keep me supplied with coffee. Would they like a writer in residence? It could be me.
My dream - I'm working on it - is to have a small studio flat, preferably in Glasgow's Merchant City (a quiet street of course, somewhere high up and at the back of a building, quite close to Caffe Nero would be good) with few distractions - a nice desk, a laptop, a comfortable bed, a shower room a small kitchen area and very little else. I would spend three or four days a week there with occasional sorties for coffee and probably get more done in those three days than I ever do in a week of trying hard at home. Plus my husband would be glad to see me when I came back. I would, of course, tell very few people where it was, lest shoppers should decide to pop in unannounced and leave carrier bags with me. But in any case I could pretend that I wasn't there. Paradise. If anyone out there is reading this and wants a tame writer to flat sit on an occasional basis, just let me know!
Once or twice I have assessed what exactly it is that distracts me from flat out work, and the list goes something like this -
Coax self out of bed about 7.30 (mornings are not my best time) and drink copious quantities of tea. Shower, dress, dry hair. Best ideas always occur in shower. Make some notes. Make bed. Sometimes change bed and sling washing in machine.
Check online business, The Scottish Home (antiques - our bread and butter these days) answer questions about listed items, send invoices where appropriate, etc. Sort out stock to list later on today, usually in the evening.
Field and answer various emails, often to do with writing of one kind or another. Promise self that will not check emails compulsively through the day in case amazing offer from publisher or preferably film maker is lurking in inbox.
Post has arrived. Mostly junk. Some bills. Visualise bills as cheques (Yes, I've read The Secret too!)
Wrap and address anything that has been sold. In the case of textiles this involves tissue paper, pretty stickers, nice postcards and envelopes. Presentation is important in this business.
Take packages to post office.
Do some PC maintenance. In extreme cases (like last Sunday for instance) this took up most of the day while I tried to restore elderly and sick PC to factory settings and then couldn't get printer to work. No disk. Found HP disk for other machine. Tried it. It worked. Miracle.
Make very large cafetiere of very strong coffee. Drink very large mug of said coffee.
Spend a little while blogging - make resolution not to spend too much time on this, but it does seem to prime the writing pump.
Do a bit of online research for latest project.
Read dissertations which students have sent via email. (Do one day a week on RLF fellowship at local university)
Sun is shining. Notice that all plants in conservatory are panting and wilting in heat. Water them. Drink second mug of coffee.
Husband says 'Can you just....' Could be anything from ordering paint and canvas to invoicing somebody. Remember that have not done any online banking for ages and everyday working account is probably overdrawn. Not disastrous since agreed overdraft, but should do it now. Am slightly horrified by falling balances and rising bills.
Ring at doorbell. Could be friends or relatives popping in for morning coffee, man to read electricity, oil or coal delivery etc etc etc.
Phone rings. Cannot ignore phone. May be publisher or film maker with unrepeatable offer. It is invariably somebody asking personal questions in an effort to sell me something. Either that, or friends, or relatives. Occasionally it's work. Always delighted when it is agent. Last week it was an American offering to sell us shares in an oil company. You must be joking, I said, and put the phone down. (Query, why do these people who have, after all, phoned you up always get quite shirty when you won't play ball?)
By now it's lunch time. Drink tea, eat large bowl of yoghurt. Will write this afternoon.
Sun is shining. Garden is a mess. Do garden and feel guilty about writing. Or do writing and feel equally guilty about garden.
Phone rings. Kwikfit offering to renew car insurance at reduced rate if I do it now. Decide to save time by doing it now. Answer questions about self and car. Have to go upstairs to find car documents.
Do photo session for listings later this evening while light is good.
Write. Bliss. Room is quiet. Radio is off.
Notice that there is a heap of bills, invoices, receipts waiting to be filed. File them.
Eat meal cooked by husband. Sometimes cook meal. Drink some wine. Government says women must not drink wine under pain of assorted apocalyptic disasters. Drink another glass in a spirit of anarchy.
Upload pics to PC and tweak them. Do some listings. This involves a lot of descriptive writing since bulk of antiques are textiles, vintage clothes etc. And measuring. And laundry. Finish blog post from this morning. Check emails and reply. Waste time on Facebook. Restrain self from looking at son's Facebook page. Must not spy on grown up offspring.
Watch an hour or so's TV.
Friend phones for a catch-up.
Make tea.
An hour later check online listings that are coming to an end and send out invoices.
Go to bed anytime between twelve and one and read for however long I can stay awake - sometimes an hour or more, sometimes ten minutes.
None of this - of course - includes shopping, buying antiques at auction, designing and ordering postcards for online business, ordering office supplies, putting in the washing, stacking the dishwasher, stain removing and laundering the old textiles, car booting, going to meetings, really doing the garden, dusting, baking and cleaning the loo. Husband always does more than his fair share. He even irons the textiles (much better at it than me.) It does not include having my hair cut and my teeth fixed and browsing bookshops and doing an art history course and looking at handbags in TK Maxx. Nor does it include my all time favourite occupation which is sitting in Caffe Nero, preferably very early in the morning, with cool music playing, drinking a very large capuccino (without chocolate on top.) and making notes for poems in the back of the little diary I always carry with me. Three cheers for Caffe Nero. I would actually be quite happy to spend all day working in there if they would keep me supplied with coffee. Would they like a writer in residence? It could be me.
My dream - I'm working on it - is to have a small studio flat, preferably in Glasgow's Merchant City (a quiet street of course, somewhere high up and at the back of a building, quite close to Caffe Nero would be good) with few distractions - a nice desk, a laptop, a comfortable bed, a shower room a small kitchen area and very little else. I would spend three or four days a week there with occasional sorties for coffee and probably get more done in those three days than I ever do in a week of trying hard at home. Plus my husband would be glad to see me when I came back. I would, of course, tell very few people where it was, lest shoppers should decide to pop in unannounced and leave carrier bags with me. But in any case I could pretend that I wasn't there. Paradise. If anyone out there is reading this and wants a tame writer to flat sit on an occasional basis, just let me know!
The Silent Traveller in the Yorkshire Dales
I bought this book a few weeks ago in the big Oxfam Bookshop in Byres Road in Glasgow. This is a shop - I must confess- that I don't wholeheartedly approve of. I don't approve of the fact that it sells large quantities of almost new books at quite high prices, by writers who reap no benefits whatsoever from the transaction. But that is, I suppose, beside the point. I still browse their shelves when I'm in the area, and comfort myself with the thought that I usually buy books which are well out of print, like this one.
It was written in 1940 in English, by a Chinese traveller, poet and artist called Chiang Yee. It consists of little chapters about various places he has visited, interspersed with poems in Chinese and English, and the most beautiful delicate illustrations very much in the Chinese style, and yet they are of recognisably Yorkshire beauty spots, many of which I visited with my parents when I was a little girl and we lived in Leeds. My Polish father was an enthusiastic hill walker and rambler. Most weekends we would go somewhere within striking distance of the city (usually by bus - we didn't have the luxury of a car in those days) to walk and picnic.
Everything about this book is enchanting. He has captured the quality of being 'in the moment' so that he is describing what he sees and how he feels about it even as he is seeing it. His observations are perceptive, quiet, full of minor epiphanies and little words of wisdom. You read it and feel peace seep into your soul. I doubt if it would ever find a publisher nowadays.
I was enjoying it in bed this morning, while I drank a large mug of tea, and forgot that I also had a pen in my hand, since I was planning to take some notes. But I got so completely lost in the 'now' of the book (Chiang Yee would have been delighted!) that I forgot where I was, and that the pen was open. It was one of those 'gel' ink pens, and it leaked black blotches all over my nice white duvet cover. I had to get up and change the bed. Which is as good an illustration as any of the benefits of being wholly in the moment and something which this wonderful poet would almost certainly have recommended.
It was written in 1940 in English, by a Chinese traveller, poet and artist called Chiang Yee. It consists of little chapters about various places he has visited, interspersed with poems in Chinese and English, and the most beautiful delicate illustrations very much in the Chinese style, and yet they are of recognisably Yorkshire beauty spots, many of which I visited with my parents when I was a little girl and we lived in Leeds. My Polish father was an enthusiastic hill walker and rambler. Most weekends we would go somewhere within striking distance of the city (usually by bus - we didn't have the luxury of a car in those days) to walk and picnic.
Everything about this book is enchanting. He has captured the quality of being 'in the moment' so that he is describing what he sees and how he feels about it even as he is seeing it. His observations are perceptive, quiet, full of minor epiphanies and little words of wisdom. You read it and feel peace seep into your soul. I doubt if it would ever find a publisher nowadays.
I was enjoying it in bed this morning, while I drank a large mug of tea, and forgot that I also had a pen in my hand, since I was planning to take some notes. But I got so completely lost in the 'now' of the book (Chiang Yee would have been delighted!) that I forgot where I was, and that the pen was open. It was one of those 'gel' ink pens, and it leaked black blotches all over my nice white duvet cover. I had to get up and change the bed. Which is as good an illustration as any of the benefits of being wholly in the moment and something which this wonderful poet would almost certainly have recommended.
Moving On
After Christmas - as any regular visitors to this blog (there are some!) will know - I experimented with blogging a novel called The Corncrake. I wasn't looking for feedback on the writing, because I knew that whatever happened, I wasn't going to be rewriting it unless at the request of a publisher - preferably one bearing cash. Hell, I've been at this game for more years than I care to admit to and I have what a senior academic recently told me was a 'distinguished cv'. My initial reaction to this assessment was the usual 'who? me?' before it struck me that he was right. I just hadn't thought about it like that before.
Which is not in any way to say that I'm above criticism. But I'm selective about the advice I heed. I listen to my agent, whose observations are always helpful and very much to the point, a handful of writer friends who I can trust to tell me the absolute truth, but whose own work I like and respect, a few perceptive editors and excellent directors - and my sister in law, who isn't a writer, but is a voracious reader. She often proof reads for me, I can count on her to be sympathetic, but full of insights too.
So what has this to do with The Corncrake? Well - it was an experiment, so it was probably worth doing. I wanted to see how easy it was for people to read, if they would return to the blog, and so on. What I think I hadn't bargained for was that I myself fell out of love with the process, albeit not the novel. I got bored, the medium wasn't right, I wanted to blog about other things, short things, ideas, observations. And it suddenly struck me that blogging a novel in this was was sending out entirely the wrong message about me, about what I write, about the way I write now. It was, I now realise, a question of professionalism.
Somebody pointed out the risks back at the start and now I think that she was absolutely right. Because I've moved on too and started to remember who and what I am, started to rediscover my own potential as a writer - as the possessor of that 'distinguished cv'. I want to explore, experiment, push the boundaries, take the odd leap into the dark. It's what I used to do all the time when I was young and enthralled by words and ideas and their possibilities. Now, for some reason, that excitement has returned to me, a flurry of projects and proposals. Which is why I've deleted the Corncrake completely from this blog, making room for something new. Moving on....
Which is not in any way to say that I'm above criticism. But I'm selective about the advice I heed. I listen to my agent, whose observations are always helpful and very much to the point, a handful of writer friends who I can trust to tell me the absolute truth, but whose own work I like and respect, a few perceptive editors and excellent directors - and my sister in law, who isn't a writer, but is a voracious reader. She often proof reads for me, I can count on her to be sympathetic, but full of insights too.
So what has this to do with The Corncrake? Well - it was an experiment, so it was probably worth doing. I wanted to see how easy it was for people to read, if they would return to the blog, and so on. What I think I hadn't bargained for was that I myself fell out of love with the process, albeit not the novel. I got bored, the medium wasn't right, I wanted to blog about other things, short things, ideas, observations. And it suddenly struck me that blogging a novel in this was was sending out entirely the wrong message about me, about what I write, about the way I write now. It was, I now realise, a question of professionalism.
Somebody pointed out the risks back at the start and now I think that she was absolutely right. Because I've moved on too and started to remember who and what I am, started to rediscover my own potential as a writer - as the possessor of that 'distinguished cv'. I want to explore, experiment, push the boundaries, take the odd leap into the dark. It's what I used to do all the time when I was young and enthralled by words and ideas and their possibilities. Now, for some reason, that excitement has returned to me, a flurry of projects and proposals. Which is why I've deleted the Corncrake completely from this blog, making room for something new. Moving on....
What I love about Glasgow
You can read my latest piece for the Financial Times on 'what I love about Glasgow' here.
Bit 'rosy' maybe, but I really do love the city, and sometimes feel that it has a peculiarly bad press - one that our east coast friends do little to counter, perhaps lest the media should start to focus on their own problem areas a bit more closely!
Bit 'rosy' maybe, but I really do love the city, and sometimes feel that it has a peculiarly bad press - one that our east coast friends do little to counter, perhaps lest the media should start to focus on their own problem areas a bit more closely!
Happy Endings
Is it me, as Wogan says, most mornings, and yes, most of the time I'm a Tog, with occasional gloomy aberrations into Radio 4 territory - is it me, or are the endings of books profoundly unsatisfactory these days? I'm not about to name names, because I'm not in the business of slagging off my fellow professionals, but I have read several interesting, entertaining and well written novels over the past year... until the last few pages, whereupon I was left with a feeling of profound disappointment. A sort of 'oh, is that all it was?' moment. Sometimes the book just peters out, as though the writer got bored. Sometimes the ending is much too neat. Sometimes there's an unlikely twist, which is dropped in without any preamble.
Then, a couple of weeks ago, I read a superb novel called One Good Turn by Kate Atkinson. The whole book is exceptional, but one of the most satisfying things about it is the ending, which is a wee stroke of genius. I turned the page and my jaw literally dropped. But it wasn't just the unexpected twist. It was the fact that all the clues had been there, subtly, carefully planted. So even while you were thinking 'My God!' you were also starting to think 'But of course that's what happened! Of course it did!' Quite the best ending of any novel I have read for a very long time. Read it and learn.
Then, a couple of weeks ago, I read a superb novel called One Good Turn by Kate Atkinson. The whole book is exceptional, but one of the most satisfying things about it is the ending, which is a wee stroke of genius. I turned the page and my jaw literally dropped. But it wasn't just the unexpected twist. It was the fact that all the clues had been there, subtly, carefully planted. So even while you were thinking 'My God!' you were also starting to think 'But of course that's what happened! Of course it did!' Quite the best ending of any novel I have read for a very long time. Read it and learn.
Ten Ways to Irritate a Writer
Here are ten things to say to your writer friends, to drive them mad. This is the result of years of dedicated research!
1 My life would make a book.
2 I'll let you write my story, provided you don't publish it till I'm dead.
3 Where do you get your ideas from?
4 Nice little hobby you've got there.
5 If I had the time, I'd write a book.
6 Are you still writing?
7 Oh no, there's no money in the kitty to pay you, but think of the free publicity!
8 Have you ever had anything published then?
9 You must be rolling in it, look at J K Rowling.
10 I've written a book as well, but I've never bothered to have it published.
All additional suggestions welcome!
1 My life would make a book.
2 I'll let you write my story, provided you don't publish it till I'm dead.
3 Where do you get your ideas from?
4 Nice little hobby you've got there.
5 If I had the time, I'd write a book.
6 Are you still writing?
7 Oh no, there's no money in the kitty to pay you, but think of the free publicity!
8 Have you ever had anything published then?
9 You must be rolling in it, look at J K Rowling.
10 I've written a book as well, but I've never bothered to have it published.
All additional suggestions welcome!
Worthy of Hire?
Harlan Ellison has a wonderful rant on You Tube about Paying the Writer. Watch it and weep, though it could be with laughter or tears. He is so right. But it applies to other branches of the arts as well. My husband, as a woodcarver, was always being asked to demonstrate for the 'publicity' it would give him, no matter that he would waste hours and sometimes days of his time getting to and from the venue, not to mention the expense of staying overnight. After a while he put his foot down and started asking for payment and you know what? Most of them paid up without a murmur.
All writers will have had the experience of being phoned up and asked to do something for nothing. It has happened to me more than once, and I've blogged about it elsewhere on here. Most of us don't mind doing something for nothing when nobody is being paid - but doing something for nothing for rich organisations is another matter entirely. I vividly remember being asked to go to a script meeting by the BBC in Edinburgh - a three hour journey by any mode of transport. But there was 'no money in the pot for expenses.' And this from an organisation that sees fit to pay Jonathan Ross how much? Now I know I may not merit that sort of money. But which employee of the Beeb would be prepared to travel for six hours on BBC business without any kind of expenses?
All writers will have had the experience of being phoned up and asked to do something for nothing. It has happened to me more than once, and I've blogged about it elsewhere on here. Most of us don't mind doing something for nothing when nobody is being paid - but doing something for nothing for rich organisations is another matter entirely. I vividly remember being asked to go to a script meeting by the BBC in Edinburgh - a three hour journey by any mode of transport. But there was 'no money in the pot for expenses.' And this from an organisation that sees fit to pay Jonathan Ross how much? Now I know I may not merit that sort of money. But which employee of the Beeb would be prepared to travel for six hours on BBC business without any kind of expenses?
Poetry Reading
This weekend, I did my first poetry reading in about thirty years. It was to mark International Women's Day, it was in Edinburgh, and I read to my husband, the organiser, and one more heroic individual. Actually, it was quite enjoyable. And it allowed me to try out a few things with absolutely no pressure. The publicity for the venue had omitted to mention that readings would be starting at one o'clock rather than two. But frankly, I don't think there were going to be vast audiences for the two o'clock reading either. Family and friends would have come if asked, but I don't have very many of those in Edinburgh any more. Fortunately, I was spending a weekend in Edinburgh anyway, and since the venue was on the Royal Mile, I fitted it in between the Queens Gallery (stunning Flemish Art) and Holyrood Palace. Then we went to the pub. I do think, though, that to entice people to listen to poetry these days - which is, when you think about it, a highly unnatural activity - you have to stage these events in bars or cafes. If people are sitting with wine, beer, or even coffee and cake, they will respond much more favourably to a little light poetry than when you expect them to sit in rows and listen. That's my opinion, and I'm sticking to it.
On poetry, inspiration and other things.
I've had Robert Burns on my mind for the past few weeks, mainly because I've been working on a sequence of new poems with a Burns theme. I've always loved the poet and his work, or perhaps that should read the poet in his work. When we first moved up here, when I was a thirteen year old romantic, before age and cynicism got to me, we lived not too far away from Burns Cottage in Alloway, the poet's birthplace. I used to walk there on fine saturday mornings and loiter in the cottage, hoping for a sight of a ghost who remained all too elusive. Sometimes I would vary it by wandering along the nearby banks and braes o' Bonnie Doon, or across the auld brig, over which Tam O' Shanter's grey mare Meg leapt and 'brought off her master hale but left behind her ain grey tail.' It was all grist to my own poetic mill which was grinding fast and furious back then. Later, I persuaded my father to drive me out to Mauchline, Mossgiel and further afield to Ellisland in Dumfriesshire.
Later, I had a couple of collections published, as I have related elsewhere on this blog, and even won Arts Council awards for them. I was on my way. My head was as full of potential poems as an egg is full of meat. I loved doing readings, never minded standing up and speaking in public (still don't) although I was also writing for radio, so envisaged myself being a poet and a playwright for ever and ever and exploring a million ideas.
Then, about thirty years ago (yes, I can be that precise about it - and I was still quite young!) I stopped writing poetry altogether. I wrote plays, lots of them, and books of various kinds, fiction and non fiction, stories, articles, reviews, all sorts of things. Was reasonably successful. But it's hard to describe the feeling I had whenever I tried to write a poem. Actually, most of the time, I didn't even try. Whenever I attempt to analyse it myself, even now, I - who love to describe things - find it almost impossible to relate what happened. The nearest I can come to it is to say that a door slammed shut in my head. I was going through a bad patch, that's for sure. I was in a sense, fighting for my survival, and I think now that my mind, spirit, what you will, had to throw out baby and bathwater together, as a way of preserving my sanity! Something had to go, some sensitivity - and the poetry went with it. And it worked, because I was fine.
It was, I suppose, like a door to a garden. Or something wilder than a garden, a landscape, something complex and enticing and uncircumscribed. It was out there. A place of endless possibilities. But like Alice, grown large and clumsy, I could no longer go there. I knew it still existed, remembered it with nostalgia, and a certain amount of impatience, but it was quite beyond my power to access it.
Over the years though, I found that I was becoming less and less happy with a great deal of what I was writing. I wrote several plays where my inclination was increasingly to pare down, weaving images and meanings together. Line endings mattered. The rhythm of the words mattered. I didn't want to tell everything. Didn't want to be obvious. Sometimes people would 'get' it and sometimes they wouldn't. But I think it was something in me that very slowly, very surely, was nudging me back towards that door, that key, that old beloved landscape.
Last year it came back. Why? Well, I could give you a million possible reasons, to do with the stars, and a certain holy well, and a resolution of some kind and sources of inspiration and muses. But in reality, I think it was just time, and all it needed was a trigger, and eventually, inevitably, it came.
Since then I've been writing poems. Lots of them. Some are - obviously - better than others. I have a lot of catching up to do.
But the most fruitful source of inspiration at the moment, has been Burns himself. My last stage play was called Burns on the Solway. It had mixed reviews, ranging from ecstatic to appalled. (I favour the ecstatic ones myself!) But I was aware, even as I was writing it, that it wasn't saying all that I wanted to say - nor was it saying it in the words I wanted to use.
The voice that was consistently in my head was Jean Armour, not Rab. She had always been in my head, ever since those childhood days at Ellisland. And even more, later, when I had read scholarly accounts of her 'unsuitability' to be the wife of such a man. Burns scholars (particularly men) have always been more attracted to the likes of Highland Mary who loved him and then conveniently died. Never underestimate how engrained is this fantasy in certain male psyches - the tragic mistress who either kills herself, or dies horribly, like Anna Karenina or Madame Bovary - a sad memory who need never trouble her lover with her lingering, ageing presence. And then of course, there's Clarinda, beautiful, teasing, ultimately unavailable so not his problem. Ae fond kiss and then we sever. Nothing becomes a woman like the leaving of her.
But a wife - one who got children, got untidy, got tired, got fat, got wrinkles, who loved him and understood him all too horribly well, who was helplessly, physically attracted to him but not above laying about her with a ladle - oh that would never do for the scholars. And yet, and yet - I have always been fascinated by Jean, admiring her to the point of obsession.
So although my new poems began, like my play, with Burns on the Solway - and unashamedly borrowed some of my own imagery - the more I have written, the more I have found myself writing in Jean's voice with little excursions elsewhere - when, for instance, Nancy McLehose herself, and latterly Jessy Lewars had something to say. The picture that is emerging is beginning to intrigue even me. I may post the odd poem on here, but they are very much works in progress at the moment. More as it happens.
Later, I had a couple of collections published, as I have related elsewhere on this blog, and even won Arts Council awards for them. I was on my way. My head was as full of potential poems as an egg is full of meat. I loved doing readings, never minded standing up and speaking in public (still don't) although I was also writing for radio, so envisaged myself being a poet and a playwright for ever and ever and exploring a million ideas.
Then, about thirty years ago (yes, I can be that precise about it - and I was still quite young!) I stopped writing poetry altogether. I wrote plays, lots of them, and books of various kinds, fiction and non fiction, stories, articles, reviews, all sorts of things. Was reasonably successful. But it's hard to describe the feeling I had whenever I tried to write a poem. Actually, most of the time, I didn't even try. Whenever I attempt to analyse it myself, even now, I - who love to describe things - find it almost impossible to relate what happened. The nearest I can come to it is to say that a door slammed shut in my head. I was going through a bad patch, that's for sure. I was in a sense, fighting for my survival, and I think now that my mind, spirit, what you will, had to throw out baby and bathwater together, as a way of preserving my sanity! Something had to go, some sensitivity - and the poetry went with it. And it worked, because I was fine.
It was, I suppose, like a door to a garden. Or something wilder than a garden, a landscape, something complex and enticing and uncircumscribed. It was out there. A place of endless possibilities. But like Alice, grown large and clumsy, I could no longer go there. I knew it still existed, remembered it with nostalgia, and a certain amount of impatience, but it was quite beyond my power to access it.
Over the years though, I found that I was becoming less and less happy with a great deal of what I was writing. I wrote several plays where my inclination was increasingly to pare down, weaving images and meanings together. Line endings mattered. The rhythm of the words mattered. I didn't want to tell everything. Didn't want to be obvious. Sometimes people would 'get' it and sometimes they wouldn't. But I think it was something in me that very slowly, very surely, was nudging me back towards that door, that key, that old beloved landscape.
Last year it came back. Why? Well, I could give you a million possible reasons, to do with the stars, and a certain holy well, and a resolution of some kind and sources of inspiration and muses. But in reality, I think it was just time, and all it needed was a trigger, and eventually, inevitably, it came.
Since then I've been writing poems. Lots of them. Some are - obviously - better than others. I have a lot of catching up to do.
But the most fruitful source of inspiration at the moment, has been Burns himself. My last stage play was called Burns on the Solway. It had mixed reviews, ranging from ecstatic to appalled. (I favour the ecstatic ones myself!) But I was aware, even as I was writing it, that it wasn't saying all that I wanted to say - nor was it saying it in the words I wanted to use.
The voice that was consistently in my head was Jean Armour, not Rab. She had always been in my head, ever since those childhood days at Ellisland. And even more, later, when I had read scholarly accounts of her 'unsuitability' to be the wife of such a man. Burns scholars (particularly men) have always been more attracted to the likes of Highland Mary who loved him and then conveniently died. Never underestimate how engrained is this fantasy in certain male psyches - the tragic mistress who either kills herself, or dies horribly, like Anna Karenina or Madame Bovary - a sad memory who need never trouble her lover with her lingering, ageing presence. And then of course, there's Clarinda, beautiful, teasing, ultimately unavailable so not his problem. Ae fond kiss and then we sever. Nothing becomes a woman like the leaving of her.
But a wife - one who got children, got untidy, got tired, got fat, got wrinkles, who loved him and understood him all too horribly well, who was helplessly, physically attracted to him but not above laying about her with a ladle - oh that would never do for the scholars. And yet, and yet - I have always been fascinated by Jean, admiring her to the point of obsession.
So although my new poems began, like my play, with Burns on the Solway - and unashamedly borrowed some of my own imagery - the more I have written, the more I have found myself writing in Jean's voice with little excursions elsewhere - when, for instance, Nancy McLehose herself, and latterly Jessy Lewars had something to say. The picture that is emerging is beginning to intrigue even me. I may post the odd poem on here, but they are very much works in progress at the moment. More as it happens.
A wee poem for my dad.
Every year (because I think it's on TV in the UK just about every year) I watch that superb film the Railway Children, and at the moment when Bobbie meets the train, I start to cry. I know why I'm crying, and I know too why every other woman I know, who loved her dad and lost him, also sheds a little tear at that precise moment. I've heard that many men are similarly affected and for much the same reason, by the movie Field of Dreams. But the Railway Children does it for me every time. And this year, I thought I would have to write a poem about it, and so I did.
DADDY MY
Dad, dead these fourteen years,
came to the door in a dream last night.
He still does this, a little less
often perhaps, but always
with a wee ache of normality.
I rushed through the room to
take his hand which
seemed oddly cool and small.
In life his hands were warm and
chipped and tinted with paint.
He was a dad who fixed things.
Waking I remembered how
the Railway Children makes me cry
with my incurable need to be Bobbie
in that daddy my daddy moment
meeting my own perfect train.
DADDY MY
Dad, dead these fourteen years,
came to the door in a dream last night.
He still does this, a little less
often perhaps, but always
with a wee ache of normality.
I rushed through the room to
take his hand which
seemed oddly cool and small.
In life his hands were warm and
chipped and tinted with paint.
He was a dad who fixed things.
Waking I remembered how
the Railway Children makes me cry
with my incurable need to be Bobbie
in that daddy my daddy moment
meeting my own perfect train.
Novels and poems and other things
Having acquired a new PC a few weeks ago, with all the usual attendant miseries, too boring to go into here, I can't say I've done anything much in the intervening period except keep on top of the bread and butter work, write a few poems, and post bits of The Corncrake on here. Today felt like the first day of spring - warm, sunny, balmy. Can't help but feel that - as they say in Scotland - we'll pay for it - but it was nice to see that big yellow thing in the sky whose name I have forgotten. Rather like when the Isle of Arran emerges from the mists after days of invisibility and you think 'oh yes - there's an island out there, isn't there?'
All of which is to say that I am faffing about trying to decide what to work on next. I am in the position of having begun two different novels, one called The Physic Garden and one called The Marigold Child. Both of them are on my mind rather because one is slightly more 'literary' than the other but both are historical. On the other hand, I had a sudden revelation about the slightly less literary book, and have altered my approach to it quite drastically, which might, I suppose, make it a little more literary as well - although it's still a damn good story, even if I do say so myself.
At the moment, I am using one as displacement activity for the other. Not a good idea, but something that many writers will be familiar with. I must take a decision, take the plunge and decide to go with one or the other. My plan is to draft one of them out completely, and then turn my attention to the other one while I am leaving the first one to lie fallow. By the summer, I should have drafts of two new novels. That's the idea anyway. By the end of the year I should have revised drafts of two new novels. You will notice that there is no mention of plays in here. That's because I have given up on them and decided to use that creative energy, all those voices, in poems. Every play I wrote, latterly, wanted to be a poem. Nobody wanted the plays. But oddly enough, they do seem to want the poems. Better to go with the flow for now.
All of which is to say that I am faffing about trying to decide what to work on next. I am in the position of having begun two different novels, one called The Physic Garden and one called The Marigold Child. Both of them are on my mind rather because one is slightly more 'literary' than the other but both are historical. On the other hand, I had a sudden revelation about the slightly less literary book, and have altered my approach to it quite drastically, which might, I suppose, make it a little more literary as well - although it's still a damn good story, even if I do say so myself.
At the moment, I am using one as displacement activity for the other. Not a good idea, but something that many writers will be familiar with. I must take a decision, take the plunge and decide to go with one or the other. My plan is to draft one of them out completely, and then turn my attention to the other one while I am leaving the first one to lie fallow. By the summer, I should have drafts of two new novels. That's the idea anyway. By the end of the year I should have revised drafts of two new novels. You will notice that there is no mention of plays in here. That's because I have given up on them and decided to use that creative energy, all those voices, in poems. Every play I wrote, latterly, wanted to be a poem. Nobody wanted the plays. But oddly enough, they do seem to want the poems. Better to go with the flow for now.
New Computers and Call Centre Hell
As any writer will tell you, changing computers is the single most dreaded event. You put it off as long as possible, you back-up and compulsively print out, you think 'I won't do it this week, I'll wait a bit' and whichever way you look at it, you know it's going to be pure hell. It always is.
I've just done it, and it was pure hell and the ramifications are still rumbling on, causing me to waste time, tear out my hair, and call upon God to witness that I have never done anything to deserve such pain and angst. Let nobody, not even PC World (the main culprits in this instance) tell you that they will make the transition smooth and pain free. They won't and they haven't. The actual events - though I have them written out in full for my own records - are too vastly complicated to be anything but boring, so I won't list them here. Save to say that I wanted (a) a new PC with Vista and Office 2007 and (b) a full data transfer from my old PC, as well as a health check, and whatever needed doing to make it run properly. It's an elderly (hmm, well, 5 years) HP and a good computer, and I wanted to be able to use it as a word processor, unconnected to the internet. Let me say right from the start that the old PC, bought from PC World has never given me a moment's trouble. Well hardly any. And the new one seems to be working pretty well too. And I like Office 2007 very much indeed, even though I have to make sure I save documents in the old format when I'm attaching them to emails, since most people's older versions can't read them without downloading something else. But these are minor points. No, what happened with PC World was that for about two weeks they didn't do what they said they would do and never phoned me to let me know what was going on. I spent a fortnight running back and forth to the store, to the extent that they have just, very kindly, sent me a cheque for £50 to cover my unneccessary petrol expenses. I spent what in retrospect seems like hours speaking to polite young men in call centres (in Sheffield, so they told me. We got quite friendly.) On more than one occasion I was forced to take a couple of Kalms. You know that feeling you get when you would like to go out and smash something? Possibly a computer.
The old PC is up and running again after a fashion, but seems sluggish and unhappy, and faintly off colour, like somebody recovering from the flu. Also they succeeded in corrupting a heap of files, so I have had to re-install all kinds of things. The old, old, old PC with its old old version of Word, which I have been using for word processing for some time, was wonderful, fast, clear, easy. I long for its return, and eye it as it sits forlornly in a corner of the room, waiting to be formatted and taken to the saleroom. It has never been online, and it doesn't really have any private data on it. Unfortunately, it only had an old fashioned floppy drive, and even that didn't seem to be working properly, so whatever you put on it was precarious to say the least. Otherwise, I would be using it yet.
But PC World weren't the only culprits. No, Orange weren't exactly angels either. More polite young men tried to get my broadband to work with Vista. I have been on and off the phone to them as well, and on and offline more times than I care to recall, and yesterday I had to try fiddling with it myself, in an effort to get it to work. (Which, eventually, I'm pleased to say, it did although not thanks to any of the helpful young men at Orange.) I'm writing this from elsewhere, so I'm still not sure if my solution is permanent or temporary, which for someone trying to run an internet business is challenging to say the least.
I am seriously thinking of reverting to Pen and Paper.
Meanwhile, this week, the Bank got a standing order wrong, and paid my accountant twice over.
Yesterday, Sky phoned me to offer me a month's free trial of films and sport. The only snag was that you had to set it up, and then if you didn't want to continue with it permanently, you had to let them know within 24 hours. You mean, I asked the bright young woman on the end of the line, you mean I have to phone Sky? (press one for... press two for...)
Well yes, she said.
In that case, thank-you very much but I don't think I'll bother, I said.
I've just done it, and it was pure hell and the ramifications are still rumbling on, causing me to waste time, tear out my hair, and call upon God to witness that I have never done anything to deserve such pain and angst. Let nobody, not even PC World (the main culprits in this instance) tell you that they will make the transition smooth and pain free. They won't and they haven't. The actual events - though I have them written out in full for my own records - are too vastly complicated to be anything but boring, so I won't list them here. Save to say that I wanted (a) a new PC with Vista and Office 2007 and (b) a full data transfer from my old PC, as well as a health check, and whatever needed doing to make it run properly. It's an elderly (hmm, well, 5 years) HP and a good computer, and I wanted to be able to use it as a word processor, unconnected to the internet. Let me say right from the start that the old PC, bought from PC World has never given me a moment's trouble. Well hardly any. And the new one seems to be working pretty well too. And I like Office 2007 very much indeed, even though I have to make sure I save documents in the old format when I'm attaching them to emails, since most people's older versions can't read them without downloading something else. But these are minor points. No, what happened with PC World was that for about two weeks they didn't do what they said they would do and never phoned me to let me know what was going on. I spent a fortnight running back and forth to the store, to the extent that they have just, very kindly, sent me a cheque for £50 to cover my unneccessary petrol expenses. I spent what in retrospect seems like hours speaking to polite young men in call centres (in Sheffield, so they told me. We got quite friendly.) On more than one occasion I was forced to take a couple of Kalms. You know that feeling you get when you would like to go out and smash something? Possibly a computer.
The old PC is up and running again after a fashion, but seems sluggish and unhappy, and faintly off colour, like somebody recovering from the flu. Also they succeeded in corrupting a heap of files, so I have had to re-install all kinds of things. The old, old, old PC with its old old version of Word, which I have been using for word processing for some time, was wonderful, fast, clear, easy. I long for its return, and eye it as it sits forlornly in a corner of the room, waiting to be formatted and taken to the saleroom. It has never been online, and it doesn't really have any private data on it. Unfortunately, it only had an old fashioned floppy drive, and even that didn't seem to be working properly, so whatever you put on it was precarious to say the least. Otherwise, I would be using it yet.
But PC World weren't the only culprits. No, Orange weren't exactly angels either. More polite young men tried to get my broadband to work with Vista. I have been on and off the phone to them as well, and on and offline more times than I care to recall, and yesterday I had to try fiddling with it myself, in an effort to get it to work. (Which, eventually, I'm pleased to say, it did although not thanks to any of the helpful young men at Orange.) I'm writing this from elsewhere, so I'm still not sure if my solution is permanent or temporary, which for someone trying to run an internet business is challenging to say the least.
I am seriously thinking of reverting to Pen and Paper.
Meanwhile, this week, the Bank got a standing order wrong, and paid my accountant twice over.
Yesterday, Sky phoned me to offer me a month's free trial of films and sport. The only snag was that you had to set it up, and then if you didn't want to continue with it permanently, you had to let them know within 24 hours. You mean, I asked the bright young woman on the end of the line, you mean I have to phone Sky? (press one for... press two for...)
Well yes, she said.
In that case, thank-you very much but I don't think I'll bother, I said.
Torchwood, Norman Wisdom and a Bit of Jamie
I spent most of yesterday evening sitting on the couch like a slug and watching TV in between playing with the new PC and finding out some of what Vista can do. (quite a lot as it turns out, and very elegantly, but sometimes the speed of my typing causes it to throw a bit of a wobbly) so here's a little TV review.
Torchwood is back - I never quite got into it the way I got into wonderful Doctor Who, but this new series seemed watchable, and entertaining, if only for the sight of Buffy's Spike (for whom I must confess I had a very soft spot in his previous vampire incarnation) dressed like an escapee from Pirates of The Caribbean, kissing Captain Jack. This lead me to a bit of mild speculation as to why it's OK for heterosexual men, and gays of either sex to incorporate their fantasies into their writing - and don't get me wrong - they often do it very well indeed! - but when us middle aged heterosexual women try to do it, we are roundly slated for being romantic or sentimental or both. This is not, incidentally a criticism of those who get away with it. More a plea that all of us should be allowed to do it and when we do it well, accorded the same leeway as the rest of you.
After that, and mainly because by that stage I couldn't bear to leave the fireside for the relative chill of the study, I watched a programme about an aged Norman Wisdom and his family's problems in finding suitable care for him. I found this a distasteful and exploitative little programme, masquerading as public service broadcasting - what do we do with our old folk? As one who sometimes feels that she is hurtling through life at twice the speed of light, it should have been interesting and thought provoking but it was simply undignified and embarrassing and depressing, and the most depressing thing about it was that his family had allowed it to be made at all.
It was, however, Jamie Oliver who eventually drove me back to the PC. Chickens are one thing, and I know we're all getting fatter, (especially while watching television in a wintry stupor) but sitting people in baths of oil while a scrawny doctor reduces them to tears by implying that they are going to DIE VERY SOON, all so that Jamie can be solicitous and offer a solution - well, it quickly became unwatchable. In fact curiously enough, while the programme about chickens would almost certainly have made people look at the alternative to the miserable battery farmed option, this week's offering probably had people rushing for the crisps and coke through sheer misery and panic. If the programme about Norman Wisdom was a wee knock, this was full on car crash television. Better by far to watch kissing time agents and get a vicarious thrill out of it. At least that may have given some of us an aerobic lift.
Torchwood is back - I never quite got into it the way I got into wonderful Doctor Who, but this new series seemed watchable, and entertaining, if only for the sight of Buffy's Spike (for whom I must confess I had a very soft spot in his previous vampire incarnation) dressed like an escapee from Pirates of The Caribbean, kissing Captain Jack. This lead me to a bit of mild speculation as to why it's OK for heterosexual men, and gays of either sex to incorporate their fantasies into their writing - and don't get me wrong - they often do it very well indeed! - but when us middle aged heterosexual women try to do it, we are roundly slated for being romantic or sentimental or both. This is not, incidentally a criticism of those who get away with it. More a plea that all of us should be allowed to do it and when we do it well, accorded the same leeway as the rest of you.
After that, and mainly because by that stage I couldn't bear to leave the fireside for the relative chill of the study, I watched a programme about an aged Norman Wisdom and his family's problems in finding suitable care for him. I found this a distasteful and exploitative little programme, masquerading as public service broadcasting - what do we do with our old folk? As one who sometimes feels that she is hurtling through life at twice the speed of light, it should have been interesting and thought provoking but it was simply undignified and embarrassing and depressing, and the most depressing thing about it was that his family had allowed it to be made at all.
It was, however, Jamie Oliver who eventually drove me back to the PC. Chickens are one thing, and I know we're all getting fatter, (especially while watching television in a wintry stupor) but sitting people in baths of oil while a scrawny doctor reduces them to tears by implying that they are going to DIE VERY SOON, all so that Jamie can be solicitous and offer a solution - well, it quickly became unwatchable. In fact curiously enough, while the programme about chickens would almost certainly have made people look at the alternative to the miserable battery farmed option, this week's offering probably had people rushing for the crisps and coke through sheer misery and panic. If the programme about Norman Wisdom was a wee knock, this was full on car crash television. Better by far to watch kissing time agents and get a vicarious thrill out of it. At least that may have given some of us an aerobic lift.
New Ventures and The Curiosity Cabinet on Audible.
Apologies to my irregularly regular readers for a rather big gap in posts to this blog. The main reason (other than seasonal distractions) has been that I have spent the last few months taking stock of where I'm at with my writing and perhaps more importantly trying to decide where I want to go next. Obviously, this is the right time of year to put some of those decisions into practice.
As I've said elsewhere on this blog, somewhere about mid 2007, poetry came back into my life. It was sudden and unexpected - a lightning strike really - and to be honest, I wondered if it would stay. But so far, fingers crossed, it has, and I find myself working on more poems than I have written for some twenty five years. Nobody ever made much of a living from poems, but I don't really care about that. I'm too busy thinking about the insights they bring with them.
Yet another change was inspired by a friend and excellent critic who read The Curiosity Cabinet and told me that - although he liked the whole book - he thought the historical sections were somehow better imagined and therefore more successful in many ways than the modern sections. On reflection, I reckon he's right, and this too helped me to see that the novel I have been struggling with for the last couple of years wasn't working too well because it is crying out to be a historical novel - and I was desperately trying to turn it into a contemporary solution to an old mystery - with marketing in mind.
I had written some 75 pages of it, very very slowly, and found myself disliking quite a lot of it. So I have temporarily shelved it - the basic theme and story is a good one, so I'll certainly be going back to it. But to give myself breathing space, I am now deep into a novel set in Glasgow a couple of hundred years ago. It's a reasonably literary story about a loving male friendship, a tragedy, and changing times and so far I'm enchanted by it. I hope that one of these days, some editors might be enchanted by it as well!
Incidentally, if you would like to read The Curiosity Cabinet you can now find a download from the excellent Audible - a very good unabridged reading from a reputable company.
Meanwhile, I have something for you to read - this week, and for some weeks to come - but I'll save it for a new post, later on today.
As I've said elsewhere on this blog, somewhere about mid 2007, poetry came back into my life. It was sudden and unexpected - a lightning strike really - and to be honest, I wondered if it would stay. But so far, fingers crossed, it has, and I find myself working on more poems than I have written for some twenty five years. Nobody ever made much of a living from poems, but I don't really care about that. I'm too busy thinking about the insights they bring with them.
Yet another change was inspired by a friend and excellent critic who read The Curiosity Cabinet and told me that - although he liked the whole book - he thought the historical sections were somehow better imagined and therefore more successful in many ways than the modern sections. On reflection, I reckon he's right, and this too helped me to see that the novel I have been struggling with for the last couple of years wasn't working too well because it is crying out to be a historical novel - and I was desperately trying to turn it into a contemporary solution to an old mystery - with marketing in mind.
I had written some 75 pages of it, very very slowly, and found myself disliking quite a lot of it. So I have temporarily shelved it - the basic theme and story is a good one, so I'll certainly be going back to it. But to give myself breathing space, I am now deep into a novel set in Glasgow a couple of hundred years ago. It's a reasonably literary story about a loving male friendship, a tragedy, and changing times and so far I'm enchanted by it. I hope that one of these days, some editors might be enchanted by it as well!
Incidentally, if you would like to read The Curiosity Cabinet you can now find a download from the excellent Audible - a very good unabridged reading from a reputable company.
Meanwhile, I have something for you to read - this week, and for some weeks to come - but I'll save it for a new post, later on today.
The Scent of Blue, final version
For anyone who can't (or doesn't want to!) get hold of the poetry pamphlet, here's the last draft of the title poem, which seems to strike a chord with a number of people, particularly women. There's an earlier version of this somewhere on here - but this is the one that was published.
THE SCENT OF BLUE
A concert in Edinburgh, years ago.
She manages to find a single seat,
sees a famous conductor,
silver haired, sharp featured like some
bird of prey, but smaller than you would
expect in evening dress.
On his arm a thin woman,
taller than he is, strides with
striking face and hair, a cloud of
grey blonde curls around her head.
Not a young woman but a
diva surely, inhabiting her clothes,
inhabiting her skin with such confidence.
She wants to be like that some day,
longs for self possession
and she remembers the scent of her,
musky, mysterious, a heavy, night time
scent, like flowers after dark.
The scent of passion.
The scent of money.
The scent of blue.
She searches for the scent for years.
Her mother wore Tweed.
Now she wishes she could
open a wardrobe door, and
smell the scent of Tweed, her
mother’s plain sweet scent,
almost as much as she
wishes she could tell her mother so.
As a girl, she wears Bluebell,
fresh and full of hope, or
Diorissimo, like the lilac she once
carried through the streets,
on her way from meeting a man
she desired and admired, thinking
Girl with Lilac, still so young,
self conscious, not possessed.
Later, she tries luscious l’Air du Temps and
Je Reviens and Fleurs de Rocaille
but they are none of them the scent of blue.
She wears Chanel, briefly, with
dreams of Marilyn,
loves to watch her, loves to hear her voice,
soothing as chocolate but
Number Five is not her scent,
never suits her, never will.
She discovers Mitsouko.
Some tester in some chemist’s shop somewhere.
An old, old fashioned scent,
syncopated, unexpected, not to every taste.
Whenever she wears it,
women ask her what it is,
I love your scent they say.
How strange the way scent lingers in the mind.
How strange the way scent
changes on warm skin.
On her it ripens to something peachy,
mossy, rich and singular.
But it is not the scent of blue.
She loses her heart.
It is an affair of telephone lines
more profound, more sweet and
bitter even than Mitsouko,
a sad song in the dark,
and the colour of that time is blue.
Afterwards, she searches through
Bellodgia, Apres L’Ondee,
Nuit de Noel, Mon Peche, Apercu
until drawn by nostalgia
she finds Joy,
dearly bought roses and jasmine,
a summer garden in one small bottle.
She marries in Joy.
But she wears Mitsouko
and she forgets the scent of blue.
Older, she discovers Arpege,
not just rose and jasmine but
bergamot, orange blossom, peach,
vanilla, ylang ylang,
one essence piled on another like the
notes on the piano she
used to, sometimes still does, play:
love songs mostly.
Oh this is not a scent for the very young.
It is too dark for that
a memory of something lost,
an unfinished story.
This scent has a past.
She sees him across a room.
Another woman ushers him,
this way and that, makes introductions,
a little charmed the way women
always did flutter irresistably around this man.
It used to make her smile the way
women flocked around this
wolf who walked alone who
belonged to nobody but himself.
She is wearing Arpege.
Not a scent for the very young,
vertiginous as the layers of time between.
With age comes wisdom,
but as when mud is
stirred at the bottom of a pool,
memories bubble to the surface.
Not wisely but too well they loved.
Now, they are waving across the
chasm of the years.
They speak, in measured tones,
they speak and walk away,
they speak again in careful words, that
every now and then
recall the scent of
No.
It will not do.
Only in dreams
can one innocently recapture that
first fine careless
So much more is forgotten
than is ever remembered.
And the clock insists
let it be let it be.
1911.
One summer evening
a young man observes the way
twilight closes the flowers,
whose scent lingers on the last heat of the day,
the way the light goes out of the sky,
painting it dark blue, how
soon the war will tear this place apart.
How soon all things resort to sadness.
In a new century,
She finds among jasmine and rose,
vanilla and violet,
a dark twist of anise, like the
twist of a knife.
First last always.
The scent of the diva.
The scent of passion.
Fine beyond imagining.
She sees it is essentially
sad, sad, sad, a
sad scent:
L’Heure Bleue.
The beautiful bitter perilous scent of blue.
A concert in Edinburgh, years ago.
She manages to find a single seat,
sees a famous conductor,
silver haired, sharp featured like some
bird of prey, but smaller than you would
expect in evening dress.
On his arm a thin woman,
taller than he is, strides with
striking face and hair, a cloud of
grey blonde curls around her head.
Not a young woman but a
diva surely, inhabiting her clothes,
inhabiting her skin with such confidence.
She wants to be like that some day,
longs for self possession
and she remembers the scent of her,
musky, mysterious, a heavy, night time
scent, like flowers after dark.
The scent of passion.
The scent of money.
The scent of blue.
She searches for the scent for years.
Her mother wore Tweed.
Now she wishes she could
open a wardrobe door, and
smell the scent of Tweed, her
mother’s plain sweet scent,
almost as much as she
wishes she could tell her mother so.
As a girl, she wears Bluebell,
fresh and full of hope, or
Diorissimo, like the lilac she once
carried through the streets,
on her way from meeting a man
she desired and admired, thinking
Girl with Lilac, still so young,
self conscious, not possessed.
Later, she tries luscious l’Air du Temps and
Je Reviens and Fleurs de Rocaille
but they are none of them the scent of blue.
She wears Chanel, briefly, with
dreams of Marilyn,
loves to watch her, loves to hear her voice,
soothing as chocolate but
Number Five is not her scent,
never suits her, never will.
She discovers Mitsouko.
Some tester in some chemist’s shop somewhere.
An old, old fashioned scent,
syncopated, unexpected, not to every taste.
Whenever she wears it,
women ask her what it is,
I love your scent they say.
How strange the way scent lingers in the mind.
How strange the way scent
changes on warm skin.
On her it ripens to something peachy,
mossy, rich and singular.
But it is not the scent of blue.
She loses her heart.
It is an affair of telephone lines
more profound, more sweet and
bitter even than Mitsouko,
a sad song in the dark,
and the colour of that time is blue.
Afterwards, she searches through
Bellodgia, Apres L’Ondee,
Nuit de Noel, Mon Peche, Apercu
until drawn by nostalgia
she finds Joy,
dearly bought roses and jasmine,
a summer garden in one small bottle.
She marries in Joy.
But she wears Mitsouko
and she forgets the scent of blue.
Older, she discovers Arpege,
not just rose and jasmine but
bergamot, orange blossom, peach,
vanilla, ylang ylang,
one essence piled on another like the
notes on the piano she
used to, sometimes still does, play:
love songs mostly.
Oh this is not a scent for the very young.
It is too dark for that
a memory of something lost,
an unfinished story.
This scent has a past.
She sees him across a room.
Another woman ushers him,
this way and that, makes introductions,
a little charmed the way women
always did flutter irresistably around this man.
It used to make her smile the way
women flocked around this
wolf who walked alone who
belonged to nobody but himself.
She is wearing Arpege.
Not a scent for the very young,
vertiginous as the layers of time between.
With age comes wisdom,
but as when mud is
stirred at the bottom of a pool,
memories bubble to the surface.
Not wisely but too well they loved.
Now, they are waving across the
chasm of the years.
They speak, in measured tones,
they speak and walk away,
they speak again in careful words, that
every now and then
recall the scent of
No.
It will not do.
Only in dreams
can one innocently recapture that
first fine careless
So much more is forgotten
than is ever remembered.
And the clock insists
let it be let it be.
1911.
One summer evening
a young man observes the way
twilight closes the flowers,
whose scent lingers on the last heat of the day,
the way the light goes out of the sky,
painting it dark blue, how
soon the war will tear this place apart.
How soon all things resort to sadness.
In a new century,
She finds among jasmine and rose,
vanilla and violet,
a dark twist of anise, like the
twist of a knife.
First last always.
The scent of the diva.
The scent of passion.
Fine beyond imagining.
She sees it is essentially
sad, sad, sad, a
sad scent:
L’Heure Bleue.
The beautiful bitter perilous scent of blue.
November Blues
Almost the end of November, and what have I achieved this month? Sweet nothing, that's what.
Is it the time of year or the time of life? I don't know.
I have sat at my desk and tried to write, regularly, but the results have been something less than inspiring.
I have done a lot of thinking and the results of that have been a bit more interesting, but faintly depressing as well.
I am chasing my tail to make some money but the bills get higher and the earnings get lower, and after a while, you wonder what it's all about.
The mornings are dark and the evenings are darker and you work away but nobody wants what you have written...
Welcome to the world of freelance writing.
You may remember that - a longish while ago - I mentioned a play called The Physic Garden and how I was waiting to hear from David McLennan at the Oran Mor about it.
Have I heard from him? You bet your sweet life I haven't. Not a word, zero, zilch, nada.
BUT, having lived with William (the gardener) and Thomas (the botany lecturer) for all these months, I have begun to think that there is more to these characters and their relationship than meets the eye, much much more than I have been tinkering with in the play - and so I have begun to write their story as a novel. Thomas is the one telling it. And it suddenly seems to have the potential to be a serious, funny, moving and literary story.
All of which fits in with the doubts that have been besetting me with increasing regularity over the past couple of months. I think I have seriously short changed myself for years and years in the pursuit of the elusive will o' the wisp of commercial success. Nothing wrong, I might add, with a bit of commercial success. But when you find that you are increasingly tailoring what you write to the demands of some elusive market - and actually, you still aren't making any money out of it, however, professionally you behave - you do start to wonder. I must admit, that over the past few months, I have started to think that I have been selling myself short for years. I used to have the potential to be a writer of some consequence. One or two of my plays have shown the literary skills I used to have. So have a few of the poems. I should have been more true to myself all those years ago. I should have written what I wanted to write, explored all those ideas I wanted to explore, grown and stretched myself. Instead, I have the uneasy feeling that I have run up and down a series of dead ends, and the result has been that I am ill considered among people who used to admire what I did - and I still haven't made any money. Worst of both worlds really. This is a cautionary tale. Be true to yourself above all else. What I need to do (as a friend recently pointed out, succinctly) is 'fail better.' How right he is.
I'm about to give it another try.
Is it the time of year or the time of life? I don't know.
I have sat at my desk and tried to write, regularly, but the results have been something less than inspiring.
I have done a lot of thinking and the results of that have been a bit more interesting, but faintly depressing as well.
I am chasing my tail to make some money but the bills get higher and the earnings get lower, and after a while, you wonder what it's all about.
The mornings are dark and the evenings are darker and you work away but nobody wants what you have written...
Welcome to the world of freelance writing.
You may remember that - a longish while ago - I mentioned a play called The Physic Garden and how I was waiting to hear from David McLennan at the Oran Mor about it.
Have I heard from him? You bet your sweet life I haven't. Not a word, zero, zilch, nada.
BUT, having lived with William (the gardener) and Thomas (the botany lecturer) for all these months, I have begun to think that there is more to these characters and their relationship than meets the eye, much much more than I have been tinkering with in the play - and so I have begun to write their story as a novel. Thomas is the one telling it. And it suddenly seems to have the potential to be a serious, funny, moving and literary story.
All of which fits in with the doubts that have been besetting me with increasing regularity over the past couple of months. I think I have seriously short changed myself for years and years in the pursuit of the elusive will o' the wisp of commercial success. Nothing wrong, I might add, with a bit of commercial success. But when you find that you are increasingly tailoring what you write to the demands of some elusive market - and actually, you still aren't making any money out of it, however, professionally you behave - you do start to wonder. I must admit, that over the past few months, I have started to think that I have been selling myself short for years. I used to have the potential to be a writer of some consequence. One or two of my plays have shown the literary skills I used to have. So have a few of the poems. I should have been more true to myself all those years ago. I should have written what I wanted to write, explored all those ideas I wanted to explore, grown and stretched myself. Instead, I have the uneasy feeling that I have run up and down a series of dead ends, and the result has been that I am ill considered among people who used to admire what I did - and I still haven't made any money. Worst of both worlds really. This is a cautionary tale. Be true to yourself above all else. What I need to do (as a friend recently pointed out, succinctly) is 'fail better.' How right he is.
I'm about to give it another try.
A Room With A View - TV Version
I was so irritated by the latest television version of this classic novel that I had to wait for a day or two, just to calm down, before posting about it. Have to say I mostly hated it.
This is a much loved book as far as I'm concerned, one I read over and over again - and always find something new in it. But what could have possessed the ubiquitous Andrew Davies to change the ending so radically and what could have possessed whoever was in charge to let him? Or does he now have so much power in television circles that nobody dares to question him ?
If you haven't already watched it, don't. Go and buy the excellent movie version instead.
There were other faults with the production too, although it seems like overkill to detail them here. But one did wonder whether the casting director had quite deliberately chosen plain Brits so that he or she could contrast them with beautiful Italians. Plainness would have been forgiveable. It was just that the young men in particular had a lumpish and underanimated quality that made you wonder why anybody could ever have fallen for them. George came across as just a bit of a lad instead of the wonderful, complex and troubled young man of the novel and the film. Plus the accents, particularly Cecil's (who is written to perfection in the novel) were dodgy in the extreme. But all of this pales into insignificance beside Davies' inexplicable and wrong headed decision to kill off our hero in the war and show us a last scene with Lucy and a young Italian (admittedly a much more beautiful Italian than poor dead George) picnicking in the Florentine hills with the implication that there might just be a bit of obligatory Davies bonking round the corner.
It was AWFUL and not just because it wasn't Forster's ending at all. Because the new ending was predicted right at the start of this adaptation, and then throughout, by various flashes forward to a shorn and short skirted Lucy alone in Florence, the whole lovely balance of the book and the movie, the inevitability of the ending which is at once romantic and revolutionary, the headlong rush of it all, was not just upset but completely and utterly destroyed. Which perhaps explainswhy it left me feeling not just upset but incandescent with rage. I'll have to go and watch the film again, just to get a sense of perspective!
This is a much loved book as far as I'm concerned, one I read over and over again - and always find something new in it. But what could have possessed the ubiquitous Andrew Davies to change the ending so radically and what could have possessed whoever was in charge to let him? Or does he now have so much power in television circles that nobody dares to question him ?
If you haven't already watched it, don't. Go and buy the excellent movie version instead.
There were other faults with the production too, although it seems like overkill to detail them here. But one did wonder whether the casting director had quite deliberately chosen plain Brits so that he or she could contrast them with beautiful Italians. Plainness would have been forgiveable. It was just that the young men in particular had a lumpish and underanimated quality that made you wonder why anybody could ever have fallen for them. George came across as just a bit of a lad instead of the wonderful, complex and troubled young man of the novel and the film. Plus the accents, particularly Cecil's (who is written to perfection in the novel) were dodgy in the extreme. But all of this pales into insignificance beside Davies' inexplicable and wrong headed decision to kill off our hero in the war and show us a last scene with Lucy and a young Italian (admittedly a much more beautiful Italian than poor dead George) picnicking in the Florentine hills with the implication that there might just be a bit of obligatory Davies bonking round the corner.
It was AWFUL and not just because it wasn't Forster's ending at all. Because the new ending was predicted right at the start of this adaptation, and then throughout, by various flashes forward to a shorn and short skirted Lucy alone in Florence, the whole lovely balance of the book and the movie, the inevitability of the ending which is at once romantic and revolutionary, the headlong rush of it all, was not just upset but completely and utterly destroyed. Which perhaps explainswhy it left me feeling not just upset but incandescent with rage. I'll have to go and watch the film again, just to get a sense of perspective!
The Scent of Blue - Poetry Pamphlet
I've just published (or rather Wordarts has published) my own poetry pamphlet, called The Scent of Blue. In due course, it should be available from my eBay shop, The Scottish Home and from the Scottish Pamphlet Poetry website.
My last collection of poetry was published more than 25 years ago.
Since then, I've written plays for radio and the stage, novels, and histories. But this new collection comes as something of a surprise even to me. I hope that it will be the first of many. There are poems old and new here, one or two of which have already been published in magazines and anthologies including a poem called Thread, which was published in Antonia Fraser's anthology of Scottish Love Poetry. There are previously unpublished recollections of time spent in Finland and Poland And there are poems which reflect my passion for vintage perfumes and textiles, sensual, tactile things and how they can serve to reawaken memories as well as reminding us of milestones in our lives. Incidentally, if anyone is wondering about the cover picture, it's a piece of very old Chinese embroidery, slightly timeworn and rather beautiful - I'm hoping it's appropriate to the collection itself!
Since then, I've written plays for radio and the stage, novels, and histories. But this new collection comes as something of a surprise even to me. I hope that it will be the first of many. There are poems old and new here, one or two of which have already been published in magazines and anthologies including a poem called Thread, which was published in Antonia Fraser's anthology of Scottish Love Poetry. There are previously unpublished recollections of time spent in Finland and Poland And there are poems which reflect my passion for vintage perfumes and textiles, sensual, tactile things and how they can serve to reawaken memories as well as reminding us of milestones in our lives. Incidentally, if anyone is wondering about the cover picture, it's a piece of very old Chinese embroidery, slightly timeworn and rather beautiful - I'm hoping it's appropriate to the collection itself!
Meanwhile, just to give you a flavour, here's an example:
MIDNIGHT SUN
Is it day or night?
The city streets
clasp the heat fast and
late drunks tumble home to sleep.
Is it day or night?
In the warm forest
marsh marigolds jostle for a place,
small lilies crouch in hooded green,
confused thrushes chatter
like shattered glass.
Is it day or night?
Small creatures furrow
lightly on the lake in
random, purposeful lines.
Mosquitoes pilot in and bite.
Black beetles toddle to the
water’s edge.
The surface is streaked with
pollen, soft as a man’s hair.
Is it night or day?
The sun that makes a narrow angle
with the lake’s thin line
considers for a moment
along the slender
very rim of the dark
and rises again.
Is it day or night?
The city streets
clasp the heat fast and
late drunks tumble home to sleep.
Is it day or night?
In the warm forest
marsh marigolds jostle for a place,
small lilies crouch in hooded green,
confused thrushes chatter
like shattered glass.
Is it day or night?
Small creatures furrow
lightly on the lake in
random, purposeful lines.
Mosquitoes pilot in and bite.
Black beetles toddle to the
water’s edge.
The surface is streaked with
pollen, soft as a man’s hair.
Is it night or day?
The sun that makes a narrow angle
with the lake’s thin line
considers for a moment
along the slender
very rim of the dark
and rises again.
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